Digitizing in CS3

I have Premiere Pro CS3 running on WinXP-SP2. Also have an ATI Radeon X1900 with a built-in capture device.
How do I get premiere to recognize the device? I can currently capture using Windows Movie Maker and a program included in Nero 7. Why not Premiere???
Thanks
Brent

>the help files states that you can digitize using an analog card
An analog card whose manufacturer provides drivers for PPro to use said card. Without those drivers PPro has no idea the card exists. It's the same with the operating system.
Cheers
Eddie
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Cs3, 'Digital Editions' NOT highlighted, what happened?

Hello friends, in CS3 indd, 'Digital Editions' NOT highlighted, what happened? Also, I am making a ebook using CS3 indd, how do I put 2 indd files into 1? If anyone can share links using CS3 indd to create epub/ebook for ipad, it would wonderful. I scanned and searched the sea of the internet for articles 'cs3 to create epub/ebook for ipad', i came up empty. I felt it was as if no one would use cs3 to create ebook for ipad. Thank you.

mangoprojectsdesign wrote:
Hi Bob, you are saying I cannot upgrade just the indd from cs3 to cs5 from the Master Collection
That's exactly what I'm saying. You do have some choices though. You can upgrade to Design Premium or even Design Standard which would save you some money.
Design Premium from CS3: http://amzn.to/kZOsu7
Design Standard from CS3: http://amzn.to/ir5i7j
Or you could just buy a standalone InDesign license but that makes very little sense to me.
Sorry, but if you're getting into EPUB CS3 just isn't going to cut it.
I saw nothing in Peter's post that made it look like you upgrade just a single app in the suite.
Bob

Identify digital camera in metadata in CS3 Bridge

The metadata no longer shows the make and model of the digital camera used. It is identified generically as digital. It is necessary to go to file information for camera identification.
For me this is very inconvenient. I am unable to identify at a glance who (which family member with which camera) took the picture.
Please restore this information to the metadata panel.

Tom Murray, many many thanks for pointing me in the right direction .
Adobe, I stand corrected and withdraw my complaint.

CS3 InDesign: javascript export digital editons

Hi
I'm trying to create a javascript to export a book (*.indb) to digital edition (*.epub).
The document book *.indb contains *.indd documents
Thanks in advance

Thank Fred,
I know the option, but I need automate a process of generation digital editions (*.epub).

Tutorials: How to make a digital photo look like an oil painting in CS3

Can anyone point me to a tutorial that shows how to do this? I have looked all over the internet - but can't seem to find a decent way to do this and achieve the effect I want! Thanks for any help

I have been looking for something to create this same effect in Photoshop CS2. With all of the filters that are already available in Photoshop, I am surprised that there isn't a filter available to easily do this.
The "snapart" plugin looks great, but I don't want to pay $149 to create this effect.

Nikon D300 Raw files for 64bit windows vista machine not appearing in Photoshop CS3 raw

I purchased a new 64bit computer running Vista. I have installed Photoshop CS3 including the latest updates and the 4.6 (Camera Raw.8bi) raw update file. I included the raw file in C:\Program Files (x86)\Common Files\Adobe\Plug-Ins\CS3\File Formats. I have purged cache in Bridge and I still cannot view the raw files in Bridge. I only see a gray square with a Blue NEF. I can open the files in Photoshop however. What can I do to see the files in Bridge?

Nikon encrypts RAW file data
ByMichael R. Tomkins, The Imaging Resource
(Wednesday, April 20, 2005 - 02:16 EDT)
A news item posted on Sunday by PhotoshopNews.com reports on comments from Thomas Knoll, one of the original authors of Adobe Photoshop, relating to the RAW file format used in Nikon's D2X and D2Hs digital SLRs.
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Thomas Knoll is currently the chief engineer for Adobe Camera Raw, the company's RAW file conversion software. The PhotoshopNews item references a forum thread started by Mr. Knoll in Adobe's official user forums, where he reveals that .NEF RAW files from the latest Nikon digital SLRs encrypt data relating to the white balance setting the photo was shot with.
RAW file formats vary significantly between digital camera manufacturers (and often, between different models in a manufacturer's lineup), and the manufacturers generally won't publicly disclose the specification for the RAW file format(s) they use. Some will offer plugins or software development kits (SDKs) that enable their RAW files to be opened in third-party applications, but these generally have some limitations attached to their use.
In addition, the companies generally offer RAW file conversion software of their own, either as part of their camera bundles or as an added-cost option. Nikon offer their pro SLRs with PictureProject software that includes limited control over the RAW file conversion process, and then offer the more feature-rich Nikon Capture conversion software for an added cost. In a recent publication on the company's Nikon Pro website, it suggested that it feels Nikon Capture is better-suited to photographers, while Adobe's Photoshop is more suited to graphic artists. Still, different photographers have different workflow preferences, and for this reason third parties such as Adobe often reverse engineer the RAW file formats, allowing them to be opened in their own software - sometimes with even better image quality than the original manufacturer's software.
In a way, it is understandable that companies would want to encrypt RAW file data from their products - it allows them to pick and choose which competitors are able to open RAW files shot with their products, and allows them to generate new revenue streams from the sale of their own RAW file conversion software (or, if they choose, the sale of licenses allowing competitor programs to access their RAW file data). Nikon is not the first company we're aware of to encrypt data in RAW files; Sony's Cyber-shot DSC-F828 RAW files contain encrypted data. In that instance, however, Sony granted permission for Adobe to decrypt the data in their software. At the current time, Mr. Knoll states that while Adobe has signed a non-disclosure agreement that grants them access to use Nikon's SDK, they have not received any response to requests from Adobe that the company be allowed to decrypt the white balance data, which would allow closer integration with their software than is possible with the SDK.
The fact that Nikon has chosen to encrypt a portion of the RAW file data would not be particularly problematic for third parties to overcome, were it not for certain laws enacted around the world in recent years. One such law is the United States' "Digital Millennium Copyright Act", often referred to as the DMCA, which makes it illegal to produce technology that can circumvent measures designed to protect copyright. One could argue that Nikon's encryption of the white balance data is just such a measure - which would make it an offense for a third party without permission to make software that could decrypt the original white balance setting used by the camera when the photo was shot. One could equally argue, however, that the copyright over the RAW file belongs to the photographer who captured the image - and hence the choice over what is done with that copyrighted work is entirely up to the photographer.
Unfortunately, there's no clear-cut answer, and short of a company or programmer finding themselves in court for having cracked the encryption, there isn't likely to be such an answer any time soon. This presents a problem for third parties attempting to make their own RAW file conversion routines for the D2X and D2Hs, as if they don't want to risk opening themselves up to legal action, they aren't able to determine the original white balance setting. Hence, they must either request the white balance setting from the user as the RAW file is converted, or attempt to determine an appropriate white balance setting automatically (which would not necessarily be the same as that determined by the camera itself).
Nikon hasn't communicated their reasons for encrypting the white balance information in their latest NEF formats, but we have to say it doesn't sound like a very good idea. While Nikon Capture does indeed offer excellent capabilities for people to manipulate images saved in NEF formats, many photographers and organizations have already established workflows based on Adobe's RAW plugin for Photoshop and other image-processing tools. The biggest consequence of this move on Nikon's part seems likely to be to push more photographers onto other camera platforms. It's hard to imagine that increased sales of Nikon Capture will make up the revenue lost from camera and lens sales going forward.

Slideshow feature in Adobe Bridge in CS3

I use Mac OS X 10.5.5 with Photoshop CS3 and Adobe Bridge CS3. I am using a Sony DSL a350 and shoot my images in Sony's raw format which they label as ARW. Photoshop recognizes this format. But, if I wish to save my images in a readily recognizable raw format, the only option offered is Photoshop Raw. This works fine except that when I want to view these Photoshop Raw files using Bridge's slideshow feature, all I get is a tiny thumbnail instead of a full screen image. Strangely enough, when I double click the image in Bridge, it opens up the full file.

> Photoshop recognizes this format. But, if I wish to save my images in a readily recognizable raw format, the only option offered is Photoshop Raw.
When opening a Camera Raw format (such as your Sony ARW format) you HAVE to save it out as a TIFF, PSD or JPEG out of Photoshop. You CAN'T save it out of Photoshop as a raw digital capture because once you open it via Camera Raw it ain't raw any more...it's processed.
Photoshop Raw is not for digital captures, it's literally a raw format meaning you have to spec out the byte order, etc.

CS3 Won't Run, Uninstall or Deactivate, Can't Reinstall; Junked.

Windows XP Pro SP2
2GB Ram
Adobe CS3 Production Premium
Thanks to Adobe's new licensing system I have a $1700 production suite that is completely useless.
After a few weeks of working fine, it suddenly decided, for reasons unknown, to cease working. With the exception of Acrobat Reader, no portion of CS3 suite will load, all crash out with an error during the loading process, all with what appears to be an issue related to Flexnet licensing.
I've tried following the crazy instructions regarding removing it, but not even Windows' Add/Remov eprograms can remove it because it needs to be deactivated first, but I can't do that because I can't load any CS3 application to deactivate it.
When I tried manually removing all traces of CS3, including all the registry hacks Adobe barbarically suggests (rather inelegant for a supposedly industry profrssional product) the reinstallation goes awry and after it finally finishes, all applications still fail because it is supposedly not activated properly.
At this point I can only assume that the product is merely junk and that Adobe simply does not care. (they have not suggested a real solution, only clumsy and idiotic suggestions to remove it manually and reinstall over and over).
My last recourse is to completely format my hard drive, and completely reinstall Windows XP SP2 which is a major undertaking in and of itself, entailing a massive backup and reinstallation of all my software, as well as all my project and business information.
Adobe (and Photoshop) have truly gone downhill since Photoshop 7, and I see very little of any value or worth in this "Creative Suite" as the only thing it seems to create is frustration and additional problems. Is this sort of licensing really stopping software pirates? Am I supposed to suffer through lost contracts and countless hours of frustration after paying nearly $2000 for the software so that some pirate can't use it? Why don't they have a standalone application that can handle activation/deactivation and installation repair? Flexnet is practically a system crippling virus. And why did the add/remove wizard force me to shut down Yahoo messenger before it could run, and then tell me it couldn't do anything anyway?
This software is junk. Now I am forced to find a new product to edit my digital photography and create web and video content (hopefully for less than the $2000 I wasted on these discs that are now only good as beer coasters).
-Mark

>Any chance your firewall is blocking Flexnet?
No, I had disabled the firewall entirely after the issue presented itself. When I initially installed CS3 for the very first time I gave it (and all Adobe products) full permissions to allow for updating and any other internet-related communications they might require. Initially everything installed correctly, activated properly and all applications worked fine. After two or three weeks everything suddenly failed. After trying to load Photoshop and getting the mysterious failure, I had tried running other apps and all CS3 specific apps failed, giving me my first clue that it was licensing related (especially in light of the fact that non CS3-specific Adobe apps *would* load, such as Flash Encoder, Acrobat, and mysteriously, Soundbooth).
It's my belief that since the Flexnet licensing subsystem (which is crucial to running CS3) is prone to corruption, deletion or other conflicts, that there should be a standalone application that can perform a verification check for Flexnet activation and repair, registration and updating without requiring an Adobe CS3 app to be loaded. Especially since the deactivation procedure requires loading into a working CS3 app. I was told by a forum member that this is "the least of my worries" yet it is a concern for those who wish to minimize the amount of time spent calling customer service and dealing with installation and activation problems.
It's most likely that something I installed, uninstalled or use, had caused a conflict or corruption in Flexnet thereby preventing CS3 from operating. Following Adobe's suggestions, I stopped and restarted Flexnet, and Photoshop asked me to reactivate, and the reactivation was successful, however the application still crashed when it got to the "Initializing Palettes..." loading stage. All other CS3 applications, at that point, also failed to load, and all gave the same error code (which also referenced adobeowl.dll).
The Add/Remove system didn't work properly, and so I also followed other suggestions (as per Adobe) of manual removal, running CS3clean.exe and reinstalling, but that also failed to resolve the issue (twice running CS3clean.exe first at level 1 and then level 2, I hadn't bothered with level 3 at this point as there seems to be no trace of Adobe software on my system), and the applications gave the same errors after reinstallation, activation and attempting to launch.
The last recourse suggested was a "low level format" as that would be the only way to ensure no remaining traces of activation, licensing or prior installation, and would generate a new and unique activation and installation environment. However, since the actual *problem* has not been determined (nobody seems to know *why* or *how* this has happened) I am extremely reluctant to take such an action if the problem is likely to crop up again.
Since other people have reported the same problem, (not to mention many issues regarding installation problems) I really don't wish to spend hours backing up my system, formatting and reinstalling Windows, updating Windows, reinstalling every driver and software package and then gambling that Adobe *might* work properly after all that.
Since there is obviously a conflict with some software I run, and the other software I run is software I own and use routinely, then it's evident that Adobe Flexnet licensing is unable to maintain a coherent and secure record of my ownership of the CS3 product. That being the case, I don't see any point in continuing to wrestle with it until such time as Adobe determines a cause for the problem and issues a fix for it (though I doubt they will, they don't seem concerned in the slightest). For now, CS3 is no longer a piece of software I can use effectively or rely upon to be part of my production pipeline. I'm looking into other options for my workflow, and recommending against CS3 (as a whole) in general, except on "clean" systems with virtually no other potentially conflicting non-OS software present.
-Ma

Audio in Premiere Pro CS3 appears on one PC, not the other

Hi everyone,
I'm the Network Administrator for a high school and we have a digital media lab here using Adobe Creative Suite 3: Master Collection. All systems here are running Windows XP Professional and are on a Windows domain. All users are standard users, with no administrative rights for obvious security reasons. When I originally did the deployment of the lab by running sysprep on a reference computer and using ghost to deploy the rest of the computers, I noticed a problem with Premiere Pro CS3 after the deployment. In that lab, none of the computers would capture video via firewire and the built in capture function in Adobe Premiere CS3. I believe I have a post about this on these forums that was never resolved. To get around this, I'd capture the footage for students in my office and then transfer it over to their network drives so they could import it into Premiere Pro CS3 and edit the footage.
Recently, the school purchased some HD cameras that record to a built in hard drive or an SDHC card. The idea here was that the .MTS files could be copied from the camera to the computer running Premiere Pro CS3, the media files in .MTS format [at 1280x720] could be converted using KoyoteSoft's Free HD Converter using the settings MPEG2 [a preset], MPG2 as the format, 1280x720 // 16/9, 29.97 FPS, 9000 video bitrate, and 224 audio bitrate, and then the new media files could be imported into Premiere Pro CS3 and edited using the HDV 720p30 preset within Premiere Pro CS3.
This works great...on my office computer.
The problem is that if any student tries to import their footage on a computer in the digital media lab, the converted media files, the exact same ones that just imported into my Premiere Pro CS3 installation on a computer in my office with identical hardware as the computers in the digital media lab, fail to import the audio. I can see the video with no problems in the lab, but no audio layer appears. If I right click the video file and choose Open With> VLC or another media player, the media plays fine with audio. All audio/video codecs that are installed on my machine are also installed on the digital media machines. If I right click Adobe Premiere Pro CS3 from within a student account on those computers and choose Run As and use the local administrator account, Premiere Pro CS3 does the exact same thing, it still can't see the audio. Adobe CS3 is fully up to date on both my office computer and all digital media computers.
Any help fixing this would be greatly appreciated, spring break is coming up here this coming week and I'll be here all week. Hoping to get this resolved during that time so students can edit their own movies. Again, video imports, audio doesn't. No audio layer appears.
Thanks!

See if this helps... To work with AC3 sound files in Premiere CS3, copy the ad2ac3dec.dll file from the Encore CS3 directory into the Premiere directory

[CS3, VB] How to find text and store as a string

Dear all,
I'm stymied again with what seems a simple thing. But you hear that a lot.
I want to find a reference number in a document and then use that to create a filename later on.
I've got this far, adapting code from another topic:
myString = "Release No. ^9^9^9^9"
Set myFileSystemObject = CreateObject("Scripting.FileSystemObject")
Set myInDesign = CreateObject("InDesign.Application.CS3")
Set myDocument = myInDesign.ActiveDocument
myInDesign.FindTextPreferences = idNothingEnum.idNothing
myInDesign.FindTextPreferences.FindWhat = myString
set myFounded = myDocument.findText()
call myInDesign.select(myFounded.item(1))
I know I shouldn't have to select it as such, but anyway, I'm stuck converting the found text into a string. And then I want to just grab the four digits.
Also, could you provide the code to put that into a if/then statement in case it doesn't find anything?
Thanks
Nigel

Perhaps we need some clarification.
Can you post one -> Good Data
one -> Bad Data
And, the required output - i mean the way you want to display those bad data. And, also post your exact oracle version by this way ->
select * from v$version;Regards.
Satyaki De.

Real World Adobe Photoshop CS3 (Real World)

Real World Adobe Illustrator CS3 (Real World) - Mordy
Golding;
Real World Adobe Photoshop CS3 (Real World) - David Blatner;
these books are in the UPPER LEVEL than "classroom in a book"
series ?

> but the part about DNG has convinced me to dive deeper in it and give it a go
When working in a Bridge/Camera Raw/Photoshop workflow, I tend to ingest the actual native raw files, do initial selects and gross edits and basic metadata work via templates and THEN do the conversion to DNG. I'll use the DNG as my working files and the original raws as an archive. I tend to do this more with studio shoots. I tend to use Lightroom when I'm on the road.
When working in Lightroom first, I tend to ingest and convert to DNG upon ingestion (when in the road working on a laptop) while using the backup copyusually working on a pair of external FW drives one for working DNG files and 1 for BU of the original raws. Then, when I get back to the studio I make sure I write to XMP and export the new shoot as a catalog and import into my studio copy of Lightroom. Then I'll also cache the newly imported images in Bridge as well so I can get at the image either in Bridge or Lightroom.
It's a bit of a chore now since I do work in Camera Raw a lot (well, DOH, I had to to do the book!) but I also keep all my digital files in a Lightroom catalog which is now up to about 74K...
Then, depending on what I'll need to do, I'll either work out of LR or Bridge/Camera Raw...
If I'm doing a high-end final print, I generally process out of Camera Raw as a Smart Object and stack multiple layers of CR processed images...if I'm working on a batch of images I'll work out of Lightroom since the workflow seems to suit me better.
In either event, I've found DNG to be better than native raws with sidecar files.

New Mac Pro quad 8 - This is great! PS CS3 at 200 MPH

Well, I have my new quad 3.0 Mac Pro up and running - and it is great.
I purchased the quad 8 3.0 at an Apple Store - with 2 optical drives, 1 GB (4 X 512), the Radeon X1900 video card, and a single 250 GB hard drive. It was a bundle and the only way to get a quad 3.0 at the store.
I ordered 8 GB of RAM (4 X 2 GB) from Crucial - bringing me up to 10 GB. I used the VERY helpful information here to install the extra RAM:
http://peloche.smugmug.com/photos/91752872-O.jpg
I added a FW 800 PCI Express card to run some LaCie external hard drives. They booted up fine.
I also purchased 2 Raptor 10,000 RPM 150 GB drives and a 500 GB maxtor hard drive. They were all easy to install and I set up a Raid 0 with the Raptors for a Photoshop CS3 scratch area. The 500 GB drive will be for internal image storage.
Everything was easy to install. The Apple designers have done a fantastic job of making internal expansions of drives and memory a snap.
I hear no beeps - everything is whisper quiet - there are no crashes or spinning beach balls.
I installed the Photoshop CS3 Creative Suite 3 Design Premium software and it is very happy with the new machine.
Compare to my old dual 2.7 G5 and PS CS2 this machine/software combo just plain blows me away.
Start up of PS CS3 is in seconds. Applying layer adjustments or filters to 300 MB images is so fast I cannot believe it!
My next task is to get my 3 wide format Epson printers (7600, 9600 and 9800) up and running. I'll update if there any problems there. I also need to calibrate the 20" and 23" cinema displays wtih my X-Rite eye one system - and make some new paper profiles for the printers.
So - I want to post this simply because almost everything one can read on this Mac Pro discussion is from the handful of people who experience some kind of problem. The thousands of users who are happy and even ecstatic do not show up here.
If you are contemplating getting the Mac Pro for PS CS3 - just take out that credit card and do it!
Life is good.
Dick
Mac Pro 3.0, G5 2.7, 2 intel iMacs, 1 MacBook, 1 Powerbook, 18 G4 Macs, 3 iPods Mac OS X (10.4.9) I teach Digital Photography clases - on Macs

Dick,
Your machine sounds great. You'll love it!
I purchased a 2.66 with 2GB RAM and the geforce7300 floor model from Bestbuy 2 days before the final closeout.
I went into the store to see if I could buy a work bench from their rear lab since there wasn't anything left, and amazingly I saw the Mac Pro among a pile of old computers and other junk with the keyboard and mouse tangled on top of it. It looked great with no scratches -- just great -- but there was not even a working monitor to try it and see if it was working.
I opened the lid to see if anything was missing or something and it looked so clean -- no dust -- that I don't think they ever plugged it in (If you look inside the floor models at an Applestore they have so much dust from being ON 24/7 or 12/7).
The price was just so amazing that I gambled and bought it. From there I went straight to my Applestore and had it install the Airport+BT cards and asked the genius to plugit in to see if it was working. He said it was OK. I also updated the date of purchase with Apple to get the full one year warranty.
Got home, connected my 23" Cinema and fired it up. I did all the software and firmware updates since it had none. It was working perfect! Next day I ordered 2 more Gigs from crucial and 4 HDDs.
It's my first Mac desktop since I always used PowerBooks/MBPs. The difference in speed with CS3 is just incredible. It takes less than 10 seconds to apply a filter that on my MBP 2.16 takes 35sec.
I'm blown away with this machine; it's design, easiness of expanding, build quality, ect.
Looking at some benchmarks from Barefeats comparing the 8-core with the 4-core, you will see that the 8 blows the 4 away in many video apps, but amazingly with PSCS3 the diference is 0%. I use it mainly for CS3 and Aperture and it changed my whole experience.
Like you say: Life is good
Bests!
-pablo

Audio balance greatly different in Encore CS3 after encoding 5.1 master track in Premiere Pro CS3

Hello! I'm wondering if anyone can offer some advice for my DVD audio problem.
I have a Premiere Pro CS3 project with a 5.1 master track that appears to behave correctly judging by the meters when I play it in PP. It also sounds reasonable (in a mixed-down fashion, I guess) on my PC system's speakers (L,R,LFE), and all rebalancing and panning seems to work well. However, once I export the master track to Encore using PP's SurCode Dolby Digital codec, the resulting audio mix is totally off. Here's what I get: both front channels play mainly out of the right front and center speakers, and the rear channels play mainly out of the left front speaker. I've tried all different settings, but I can't seem to change this. Well I've read that Encore just sends the audio mix straight through (the DVD trancode status is "Don't transcode"), but when I build the DVD and play it on both of my 5.1 surround systems, the results are just as bad as what my desktop PC speakers were hinting at. [Actually all DVDs that Encore builds are UNSUPPORTED on one of my set-top DVD players and they're both Panasonic! So first, I first have to copy the DVD using Nero and then the copy is accepted by all. That seems to have no bearing on my audio dilemma but I thought I'd mention it. I would love to know what Nero is doing right that Encore is doing wrong!)
Anyway, here's some background: I began to notice this problem with the audio balancing whenever a .wav music source is imported into PP as a stereo source. [A side issue here - I don't seem to be able to explain - or control - how one .wav file gets imported as stereo while another is imported as 5.1!] Anyway, as one would expect, since my master track is 5.1, the stereo track is automatically set up with a rebalancing tray with the puck set in the middle. The meters show that the source is stereo and the sound has been rebalanced across the master track. If I drag the puck around, the master meters behave accordingly. Then I import my video (.avi video clip) and that sound is imported as a stereo track. For that track, I drag the puck to the rear. Again, the master meters respond correctly. So far so good. But when I export to Encore, the resulting audio mix so completely wrong it can't even be explained as a 5.1-to-stereo downmix situation. The sounds that were supposed to come out of the rear channels are in front left and center (and deafening), overpowering the music that is only coming out of front right. And the rear speakers are silent unless I turn on Pro-Logic on my amplifier, which just confuses the issue. I didn't bother to check LFE as things were bad enough.
Where I DO NOT have the problem is when the audio file is imported as a 5.1 source (although it is just a stereo CD track ripped using Sony CD Architect). In that case, there is no rebalancing tray and the track meter shows only the L and R channels active, as expected. Ditto for the master track. Now if I go ahead and send the music to a stereo submix track and let that rebalance to the master, I see all channels active. But that results in the problem above after exporting to Adobe Media Encoder using SurCode and then importing the audio into Encore. If I don't remix to 5.1, the audio on the DVD is OK. But I would like to have the music come out of all speakers when there isn't a video soundtrack as there are many still pictures in the presentation.
So the question is, if I can rebalance and pan channels in PP CS3, why are the results coming out all wrong in Encore using SurCode? And how can I hear my project on DVD the same way I mixed in PP?
Any help would be greatly appreciated!
Doug Herbst
Holmdel NJ

Problem solved everyone!!!
Rebecca of Adobe support helped me identify the root cause: project was originally set up as standard (2-channel) and although it had evolved to a 5.1 project over time, it could never grow up to be anything other than a standard audio project. After you set up the new project, the setting that controls your audio is buried in the project somewhere. Changing your project settings to set up new 5.1 audio tracks for new timelines does NOT make the project 5.1! The real audio identity attribute set at birth is not alterable OR EVEN VISIBLE (even as a grayed-out project setting) although PP will allow you to set up and mix 5.1 audio tracks at will. So you may think you're working on a 5.1 project now, but you're only fooling yourself and PP goes right along with it. Even the .ac3 files you create via export are 5.1! But dare to build your DVD in Encore and all of your timelines are transcoded back to 2.0 instantly. Resistance is futile.
A new feature in PP CS4 will allow you to view, and even CHANGE, your project's audio identify from standard to 5.1. How sweet!
Well, I've devised a way to dig out myself out of this deep hole in CS3 and it worked, but I can't promise that it will work for everyone. (This assumes you own the Dolby Digital 5.1 codec from Minnetonka.)
1. Create a new Premiere Pro project as 5.1 audio from the get-go.
2. Import your suspected 2.0 project into this new 5.1 project and click each sequence to flesh out the timeline.
3. Re-export all audio as elemental streams using Adobe Media Encoder. Make sure you export the audio component of each timeline as Dolby Digital 5.1 and exactly - and I mean EXACTLY - the same way. To deviate the audio settings for each timeline is to ask for trouble, so I recommend setting up an audio pre-set that you can just click when you need it.
4. Create a new Encore project and import all original video assets and your new replaced and, hopefully, 5.1 audio assets into it.
5. In Encore, create a separate timeline for each pair of assets (.m2v and .ac3 for example). DO NOT ATTEMPT TO PLACE MULTIPLE PAIRS OF ASSETS ON THE SAME TIMELINE! For some unexplained reason, the build process will transcode the audio back to 2.0, and if you continue pack new 5.1 audio assets on the same timeline, you will get an error message "an input contract violation has occurred" because you now have 2.0 and 5.1 assets on the same timeline, even though you really don't know that and didn't ask for that to happen anyway. (Thanks to Bill Hunt who mentioned his habit of keeping the asset pairs on separate timelines in another thread - that suggestion was absolutely essential to the solution here.)
6. In Encore, check to make sure that all of your original video sychs up correctly with the new, true 5.1 audio. Link the end actions of each timeline with the next timeline to play in the correct sequence. Check your project for orphan timelines and other errors. Then, before you start building menus and start getting fancy, build a DVD and make sure it plays as 5.1 on your system.
Tip #1: while you're re-exporting and replacing the audio files, don't have Encore running. I've seen it gracefully and automatically re-import the replaced file once the export is done, but I have also seen it choke with the terribly descriptive "Encore has encountered a problem" message upon discovered the asset is not available while it is being replaced. Encore then continues to mark the asset as offline.
Tip #2: when re-exporting and replacing files, always select audio and video separately. For some reason, Encore will allow you to replace an .ac3 file when you perform an elemental audio export, but when you try to combine video and audio and both files exist, Encore will prompt you to replace the video, but immediately abort with an error that it cannot replace the .ac3 file, thus forcing you to delete the .ac3 component manually before trying again.
Doug

AI CS4 Need to switch from letter (individual page PDf) to tabloid for duplex on digital press.

I've figured out the individual art boards are the "new tiling". We set catalog pages up on Tabloid so that we can duplex them on our digital press. We also need to print them as indivdual letter size pages for our automtated PDF approval system. I've been successful at creating the individual artboards for letter size, but can't figure out how to get them back to a tabloid size so that the two pages are one. In CS3 all we had to do is set the page size for letter - tile full pages and done. Then switch back to tabloid for our runs on the digital press. I'm perplexed about how that works with art boards.
Help would be appreciated.
Thanks!
Terry

You'll need 3 artboards. 1 for each individual page then a third which is tabloid sized and overlaps the other two artboards.
Print artboard 1, 2, 4, 5, 7, 8, etc. for letter sizes, and print artboard 3, 6, 9, etc for tabloid prints.

Cannot see web photo gallery in design in dreamweaver cs3

have made web photo gallery in PS- opens in browser- opens in
dreamweaver cs3- I can see the code all OK can view again in
browser--But I cannot see the thumbnails or tables-yet I know its
there hidden?--How can I make it all visible

Cindy:
If you dig really deeply (10 levels down!) in your Library folder you will find the templates for the new Bridge Galleries. You can also use the Lightroom templates in Bridge CS4.
Library/Applications Support/Adobe/Bridge CS4 Extensions/Adobe output Module/mediagallery/resources/templates/07lightroomgallery/styles
I duplicated one of the enclosed Styles and dragged it to the Desktop;
opened it in GoLive (because I like the way that GL displays html code although any text editor will do);
edited the code to give me the background colors, text and image frames that I wanted; and Saved the file with a new but similar name (starting with next two digits in the series and with the .xml suffix) in the same location as the original.
And it works!
You may be able to put your existing templates in the appropriate areas.
Or, you could install the Optional Plug-ins which let you use the Photoshop/File/Automate
web galleries and put your old templates wherever you kept them for CS3.
WARNING:
You should be perfectly safe doing this but if you screw-up CS4 and have to re-install it I accept no responsibility!!!!!!!

Digitizing in CS3

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