Simple Choker Edge Pixels

I am trying to figure this out. I have a project in CS5 with a simple choker and on one mac machine the choker repeats the frame's edge pixels but on another running the same software and OS the choker does not repeat edges. I tried to make a new project, the same edge problem occurs. I deleted the AE prefs, and even copied the same plug in from the machine with the proper edge repeating mac. I updated my AE version as well. Anyone seen edge repeat problems before?

Hello there!
How about trying to make it a 3d object? I quickly pulled this together just to show you that it may be easier going this route, rather than literally pasting in pixels to create the effect.
By going to 3D > New 3D Extrusion from Selected Layer
Below, it transforms the letter to a 3D object. You an rotate the letter to any way in which you would like. In this feature, you can also change the shadow color, the text color, lighting effects, etc.
My fast and quick 3D letter.
Additional Links:
Please post back with any questions
Janelle

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It is impossible to generate similar update from OWB.
Does your table1 contain primary key columns? What is the number of rows in this table?
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I'm a professional fine art printer. I prepare images for large format printing, often starting from the original RAW files. Since the feature to open RAW files as Smart Objects in Camera Raw was introduced, I've been doing that, as it allows me to go back into the Raw file at anytime and re-tweak as I layer. I love this option and it is totally indispensable to my workflow.
HOWEVER, I find a serious flaw when resizing the image for final print, or even when resizing for web-output. If I do any interpolation (pixel resizing) up or down, the edge pixels are not locked in place, and treated as if they are a floating object, therefore the edge pixels usually show up at a lower opacity, (see attached image). This KILLS my workflow! It means I have to completely flatten my work and then resize, loosing all my groovy layers and the ability to go back into Camera Raw and make final tweaks while I make test prints and final decisions with the client by my side.
Even worse, when I apply the final print sharpening and flatten the file to send out, the edge transparency issue is compounded, and the sharpening adds an ugly halo around the whole image, BLAH!
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Best,
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I'm not going to say anything about the abysmal rendering of Vector Smart Objects in CS6 because it'll be beating a dead horse but I can explain the issues you see with measurements after scaling.
The slightly disproportionate scaling and half-pixel shift of the centre is unavoidable when it happens because the resulting Smart Object/Vector Smart Object must measure an integer number of pixels in height and width and be perfectly aligned to the document pixel grid. That's true in CS5 and CS6.
Say a SO/VSO originally measures 102 x 103 pixels and you scale it by 50%. The Options bar may say the result is 51 x 51.5 px but the result will really be 51 x 52 px, and therefore the new height will really be 50.49% of the old height.
The original SO/VSO is an even number of pixels wide and an odd number of pixels high, therefore its centre will be halfway down a pixel. The 50%-scaled SO/VSO is an odd number of pixels wide and an even number of pixels high, therefore its centre will be halfway across a pixel.

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Thanks so much!

I would suspect your display card driver.
Here are a couple of threads with a similar problem:
http://forums.adobe.com/message/5386622#5386622
http://forums.adobe.com/message/5385912
Check the final posts for a possible fix.

Blending mode and choke issues

Im doing a very simple tutorial and I have encountered a few problems which I have been unaware of before.
Here is the link to the tut - http://ae.tutsplus.com/tutorials/motion-graphics/use-a-jello-jiggly-expression-quick-tip/
In the beginning he duplicates the text and changes the blending mode of the top layer to multiply.   First problem I encountered is my text barely changes colour/appearance in any way when doing this.
Next he applies a Matte>simple choker and cranks it to 40.   Second problem when I do this I see no choke because the multiply hasnt made enough diffeence to notice. Also I soloed the duplicate layer and cranked the choker up but I cant take it any higher than about 8 or it just starts disappearing.
I tried the same thing with a shape and that seemed to be even more problematic. I used a rectangle and duplicated it. When i choked it the duplicate gets round corners and stretches horizontally. WHats going on here?
Am I doing something wrong here? I am following the video instructions precisely.   Thank you.

Matte Choker will make rounded corners because that's exactly what it is designed to do. If you applied simple choker to a text layer and a very small value change makes the text disappear then the text isn't thick enough. Try a fatter font. As Mylenium said, blend modes based on the value of pixels depend on the color. The max value of red is the max value of red so if you multiply it by the max value of red you still get the max value of red which equals the max value of red, therefore there is no change.
This won't work:
This will but barely:
Setting the bottom layer to something lighter with values like this works better because there is some room to do the math and it is in more than one channel:
But you can see that there's very little edge available and the matte choker is rounding the corners. It does this because all matte chokers work by blurring the edge of the alpha and then adjusting the level or the curve of the blur. You can build your own matte choker simply by applying blur to a layer, adjusting the alpha levels using that layer as an Alpha track matte for your text. See how I've crushed the alpha levels toward white? That is what makes the matte shrink.
I hope this helps you understand the process better.

Pixel-slop in Photoshop image rotation

See three small bitmaps attached: <<original.bmp>>; <<45cw.bmp>>; <<45ccw.bmp>>.
The original is a simple 21x21 pixel test pattern, black except for white pixels in the center and corners. It's appearance should be the same whether rotated 45 deg clockwise or counterclockwise, and the appearance should keep the symmetry of the original.
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I set the background color to black in the toolbox. Thank you John Joslin.
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Then how do you account for my post 11? How to you account for X2 detecting a extra hidden row on the left and top side of of the image? There is no hidden row on the bottom or rightside.
Adobe digimarc did not detect anything.
Paint Shiop Pro X2 digimarc did.
I have posted the proof. It is not my fault that Adobe digimarc addon cannot detect the watermark.
The watermark is there.
dcouzin wrote:
Fantasy watermark. First of all a black pixel isn't a watermark. It can't "hide" a watermark. Hiding has no meaning in this context. If the file header has a digital ID that's fine, but it's not "hidden" in the image, not under a black pixel.
All of your reported O=255 data is not in the image either. There aren't enough bytes in the file to specify opacity at each pixel. This is a 24-bit RGB image not a 32-bit RGBO image. Maybe O=255 is specified globally somewhere in the header, but I don't see "FF" anywhere in the header. More likely full opacity is presumed for a RGB image.
THERE IS NO WATERMARK.
I suggest you download BinViewer 2.0 and BinEditor 2.0 which are freeware. Look at the file <<original.bmp>>. You will count 114 zeros between the first "FF FF FF" and the next "FF FF FF". 114 divided by 3 equals 38 so "00 00 00" appears 19 times between the "FF FF FF"s. Hey, that's the 19 black pixels between two of the corner white pixels. Now you can use BinEditor 2.0 to change some of the "0"s or "F"s to anything you want. You can write "dec9" in there. Save and open in Photoshop to see what you've painted. It's great fun creating colors and shapes by poking numbers into a file. It's the opposite of Photoshop's glistening gliding paintbrushes, and it has a powerful truth.
This is why I want to know what Photoshop does when, for example, it rotates an image.

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Karla,
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Windows 7, [email protected], x64, 8GB, 2TB hdd.
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trshaner wrote:
it occurs with 'Resize to fit' unchecked, so how can this be an Export module issue?
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If unsized exports of uncropped files are wrong then so am I...
R

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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.
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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.

Graphics move when adding filters

I'm having strange things happen when using graphics.
When I add a filter eg GausBlur my graphic moves down when adjusting blur. I also get this when I apply other filters as well, but usually when I add a second filter/plug to the graphic.
I'm on a macpro dual quad, 16g ram and all apps are up to date
Cheers

The graphic shift has nothing to do with Blackmagic--that's a bug (or at least an issue) with Premiere itself.
It's pretty simple to replicate. Plop a Drop Shadow effect on a title (or other alpha graphic), followed by a Gaussian Blur (or Fast Blur) effect. You can first see the shift just by swapping the order of the effects; they can be left at detent, and simply changing the relative positions of the effects will cause the graphic to jump.
If Drop Shadow is above Gaussian Blur in the effects stack, even with GB set to 0, changing the Softness parameter of DS will shove the graphic down and to the right.
If Gaussian blur is above Drop Shadow in the effects stack, even with DS set to 0, changing the Blurriness parameter of GB will shove the graphic down and to the right. However, in this case, you can mitigate that negative effect by ticking the Repeat Edge Pixels option in GB. No matter what you move, the graphic will stay where it should. This doesn't work in the other scenario, however.
My understanding of this--though I'm not sure whether it's a bug or a functional limitation--is that when you're adjusting these softness parameters for either effect, you are altering the clip's dimensions via the alpha channel. That's why ticking the Repeat Edge Pixels option stops this; it clamps the alpha channel to the original image's dimensions. As you adjust these parameters, the alpha channel's dimensions bloom/grow larger, and this changes the clip's anchor point, causing the shift.
Obviously, this isn't right, no matter how you slice it, but I suspect that simply saying it's a bug is not really getting to the heart of the matter. I imagine there are some larger underlying issues with the way Premiere Pro handles alpha channels and effects that manipulate them that would have to reworked first. In other words, this is probably not something you'll see in a point update; it will likely require a new version of the software to see a true fix.

Simple Choker Edge Pixels

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