Square at the end of 90% of my tags., on my foobar2000 tagged MP3 files.

Most of (90%) of my foobar2000 taged MP3 files show on iTunes, with an ending square. Like this:
http://img178.imageshack.us/img178/4436/ituneshk8.png
Appart from some "ñ" on some tags, there are no other strange symbols or anything like that.
Have anyone had this problem before?

This is a problem with, almost certain, itunes lack of support for id3v2.4 standard.
You can solve that installing the latest version of foobar and going into advanced preferences and turning on the id3 tagging compatibility mode.
This will make writing the tags slower but solves the squares problem, and let's hope Apple solves this inthe next version.
Eduardo

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Square at the end of all tags

hey... i am using id3v2.4 UTF-8 for tagging my mp3. When i import them to itunes all the names have square at the end. what is the problem? can i solve this by not changing the tag version? other programs seem to read the tag properly.

Please read this thread http://discussions.apple.com/thread.jspa?messageID=3302592#3302592
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How do I get iTunes to ONLY open in Mini Player? I don't want the entire iTunes interface opening when I double click on an Mp3 file.

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Try http://kb.mozillazine.org/Locked_or_damaged_places.sqlite
Start Firefox in [[Safe Mode]] to check if one of your add-ons is causing your problem (switch to the DEFAULT theme: Tools > Add-ons > Themes).
See [[Troubleshooting extensions and themes]] and [[Troubleshooting plugins]]

Square boxes at the end of report output.

Hi,
In one of the issue, in the output of all the reports customer is getting the few square boxes at the end of each page. How to remove these square boxes from the output,
Let me know , where to look for this.
Refer SR 5841642.992 please see the output in the SR .

you can try this :
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Got a quick question.
I'm working on a custom card builder and was wondering if there was any way I could keep an uploaded image editable to the end user. The end-user will be able to choose what template they'd like to frame the image with. The problem is, even with transparency that chosen frame acts as a layer, and once the uploaded image has been placed onto the staging area, the end-user loosing the ability to edit/scale/skew that image. I'd like them to be able to still do that even with the template above their image.
Can anybody think of a solution to this? Any and all advice is greatly appreciated.

You'd literally need to chop each frame up. To keep things reasonable to update you can use Photoshop to slice the graphics, saving them to external PNGs to import in. If a frame has 4 edges, you cut out the 4 sides, import into Flash and reassemble them inside a single Sprite or MovieClip. Any area inside that sprite that has no actual objects will be true transparency and won't invoke a click action.
Keep in mind, hitboxes are rectangular. If you have an oval frame where the edges require you to create bitmaps with transparency on their edges, that will be clickable. If you don't immediately understand what I mean by that just draw a circle in flash, convert to clip. Now draw your cursor around what you consider the 'top' portion of that frame and notice how much of the inner fill you also capture at the same time. That will all be clickable. So the user may "see" their picture behind the frame but when they click they accidentally get the frame instead.
Picture worth a thousand words (random net image):
If you cut this oval frame into 4 pieces (this being the top obviously), the transparent area you see in the frame will need to be part of the hitarea for the frame. That can be just as confusing to customers in this situation. If most of your frames have little to no transparency (very squared up) then it won't be a problem. Although just like the problem you're having now, any bitmap transparency WILL be clickable even if you cut the sides up. The center where there is no bitmap can be clicked through to mess with the picture behind the frame.
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How to get consecutive numbering at the end of paragraphs?

In a big text some paragraphs, already styled, need a consecutive numbering.
At the beginning of the paragraph the numbering will create a mess.
Tried with fake footnotes: Impossible. The text has footnotes and converting the faked ones to text is not available.
Tried a nice script written by Jong to add/subtract a number on numbered items, but it is restricted to index situations.
O R I G I N A L                                   R E Q U I R E D
a. Many years ago.                    a. Many years ago. [1]
Lucy Smith                              Lucy Smith
b. Margaret run away.               b. Margaret run away. [2]

Hi, Camilo:
First of all, I was not thinking clearly when I blamed ID for a cross-reference bug. It was my error. Cross-references within a document need to be updated by the author, using the Update cross-references button at the bottom of the Hyperlinks & Cross-References panel, when they're moved or their source content changes. I was thinking about the known issues with cross-references that go between ID document files, which update automatically - performance slows, and sometimes they cause crashes.
Here's the replacement reply for my previous post #1:
camilo umaña wrote:
In a big text some paragraphs, already styled, need a consecutive numbering.
At the beginning of the paragraph the numbering will create a mess.
Tried with fake footnotes: Impossible. The text has footnotes and converting the faked ones to text is not available.
Tried a nice script written by Jong to add/subtract a number on numbered items, but it is restricted to index situations.
O R I G I N A L                                   R E Q U I R E D
a. Many years ago.                    a. Many years ago. [1]
Lucy Smith                              Lucy Smith
b. Margaret run away.               b. Margaret run away. [2]
It's not clear if the right-hand numbers are supposed to replace the left-hand numbers while keeping the same sequence, or if you want to retain the left-hand numbers. You can use cross-references to create right-hand numbers from the paragraphs auto-numbers.
Insert a cross-reference to the paragraph at the end of the text, with a format that captures its autonumber, and adds any ornamentation, like the square brackets in your example.
If the rightmost number must be positioned at the right margin of the numbered paragraph, no matter how long or short it is, or if it wraps around to new lines, add a right-aligned tab stop to the paragraph style, positioned at the location where you want the number to appear, and insert a tab character in the paragraph before the cross-reference.
If the left hand numbers are supposed to go away, you can't change the paragraph style to a non-autonumbered style, because you need the numbers that the cross-references capture. So, you need to create a character style that's very small and uses Paper for the text color, to hide the autonumbers. If the smallest point size (IIRC, it's 2 points) leaves too much space at the left of the autonumber, you might be able to reduce it further by using a small value in the Horizontal Scale property of the Advanced Character Formats in the Character Style dialog box. Your example seems to show that the numbered paragraphs are indented, so the space occupied by the hidden autonumbers may not be a problem.
If the paragraphs are rearranged in sequence, you'll need to use the Update Cross-References button at the bottom of the Hyperlinks & Cross-References panel to update the affected cross-references.
I'm still not clear about numbers at the end of the paragraphs in square brackets. Are they supposed to be the same value as the auto-number at the beginning of the paragraph, except that they use a numeric display format instead of an alphabetic format?
I don't know of any code that can work with a find/replace action that can capture a paragraph's autonumber and display it at a specific location. As you've seen, cross-references need to be inserted manually. You might post a query in the InDesign scripting forum to see if someone has figured this out. If there's no complete solution, you might want to ask about a script that searches for the ends of paragraphs of the autonumbered paragraph style and opens the Insert Cross-Reference dialog box.
Using Quick Apply to execute the Insert Cross-References command, which opens the New Cross-References dialog box, might save some energy for doing the many manual cross-references insertions. Search Google for terms like "InDesign quick apply" without quotes. You can open Quick Apply with a keystroke shortcut - Cmd+Return on Mac. You can type abbreviated commands. I use "rt cr" without quotes for (Inse)rt cr(oss-reference). Opening Quick Apply repeats the last command that was entered.
Also, if you haven't tried a Google search for phrases like "InDesign numbered list at right end of paragraph," without quotes, give it a try. There are lots of links, including one to this forum article. Perhaps there's a golden nugget among them.
If you think it's important for ID to be able to place autonumbers at the ends of paragraphs, please post a formal feature request here: Wishform Eventually, some user originated feature requests are incorporated in future ID releases.
HTH
Regards,
Peter
Peter Gold
KnowHow ProServices

Fad out the end of a clip

Can anybody tell me how I can fade out the end of the sound clip I have created in sound track pro?
Thanks a lot.

If you're in multitrack mode, you'll need to use volume automation. Click the arrow to the left of the track name to open the automation pane. Double-click on the volume automation line at the place you want your fade to begin. Double-click again at the place you want your fade to end and grab the little square dot to the bottom.

Is it possible to delay the flash on a T5i to fire at the end of a long exposure shot

I'm wanting to take long exposure shots of dancers and would like the flash to fire at the end of the exposure instead of the begining to increse the depth of field right as the shutter closes. Is that possible using the on camera flash of a T5i and if so what are the settings?
Thanks,
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When you use a TTL flash (Canon's E-TTL or E-TTL II) the camera uses a multi-zone metering system (think of an imaginary grid system overlaying your image) and (1) meters with no flash at all, then (2) fires a pre-flash at very low power while simultaneously metering again. It then compares the difference in each zone between #1 and #2 to determine how much of a difference the flash made. By doing this it can identify highly reflective surfaces (e.g. mirrors, glass, reflective metals, etc.) and eliminate those from the flash evaluation. It can also find zones where the flash seemingly made no difference at all (e.g. if there was a light source in that zone... such as a lamp) and elminate those. Light sources and reflections would ordinarily fool a flash metering system into thinking it had produced enough light ... even if it hadn't. With those zones safely eliminated it can then compare the difference for each zone between #1 and #2 to determine how much addtional power should be necessary to correctly light them.
It does all of this during the pre-flash. The shutter is closed when it does this (the light will not affect your image.)
Then the shutter opens and at some point it fires the flash again... only this time using the power level calculated during the pre-flash phase. Only this second firing of the flash will show up in your image.
If you switch the flash to manual mode, you wont get a pre-flash.
The on-board flash is useful as a "fill" flash (decreasing the severity of shadows) and it can be used as a primary flash IF the subject is reasonably close (e.g. around 10' is fine... 14' feet is a stretch and beyond that... not so great.)
An externally attached speedlite flash can provide significantly more power. It can also be located off-camera to provide better lighting (on camera lighting is "flat" because there's no highlight/shadow side to any 3D surface... textures look 2D as a result.)
As for "depth of field"... this is a different problem and the flash can help, but there are some caveats.
If you're shooting indoors with only the available light in the room, then you're likely in challenging circumstances and using lenses with wide-open apertures. Hence the depth of field is fairly narrow.
If you could increase the lighting then you could reduce the aperture opening and increase the depth of field.
But there is a catch.... light exhibits a property sometimes called "fall off". This is because it follows a rule in physics called the "inverse square law" whereby the intensity of light decreases as the distance from the light source increases. Each time the distance from the light source increases by the square root of 2, the light intensity is cut in half (exactly half... that's not an approximation.) E.g. the amount of light illuminating a subject which is 14.1 feet away from the flash will be exactly half as compared to a subject which was only 10' away. The square root of 2 is approximately 1.41. So 10 x 1.41 = 14.1.
This means if you are photographing two subjects... one is 10' away and the other is about 14' away then the more distant subject will only receive half as much light. Suppose we go to a crazy distance... and we have a flash 100' away. NOW the second person has to be 141' away before they get half as much light. This means two subjects within just a few feet of each will not receive "noticeably" different levels of light.
While placing the flash farther from the two subjects will reduce the difference in illumination on your near vs. far subject, built-in flashes cannot handle these larger distances... they don't have enough power. But an external flash brings more power for you to do this.
Canon's speedlite model numbers actually provide an indication of their power level. If you delete the trailing zero from the model number (e.g. in a 430EX II you'd omit the "0" and get "43"... in a 600EX-RT you'd omit one "0" and get "60', etc.) the number you get is the flash "guide number" in meters. The "guide number" is an indicator of how far the flash can adequately illuminate a subject... but the f-stop and ISO settings you use on the camera will change this. So the "guide number" uses a baseline ISO of 100 and a baseline f-stop of f/1. Of course you don't have an f/1 lens but the baseline is used because it makes the math easy. You divide the guide number by the f-stop you are using. e.g. if you are shooting at ISO 100 and f/8 then you'd divide your guide number (suppose you have a Canon Speedlite 600EX-RT.. that's a guide number of 60 meters) and you'd get 60 ÷ 8 = 7.5 meters. Convert meters to feet and that works out to 24.6 (about 25'). Of course that's at ISO 100. Bump up to ISO 200 and you can multiply that distance by 1.41... or bump up to ISO stops to ISO 400 and you can double the distance (about 50'... and that's at f/8).
I should caveat that this assumes you are pointing the flash directly at the subject and there are no light modifiers in use (no soft-diffusers, you aren't "bouncing" the flash off a ceiling or wall, etc.)
Here's a Youtube video that might help you understand the light fall-off problem.
Tim Campbell
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I have another export issue that I can't figure out.
I import footage I shot at 23.98fps (on a JVC HD100) using a Kona LH card at 59.94fps DVCPro HD, in which it has a 2:3 cadence. I need to make files that are actually 23.98p DVCProHD. Unfortunately, when I export in Final Cut from the 59.94 original, the new 23.98 file has all of the image, exported correctly, followed by a number of black frames such that the total number of frames in the exported file equals the number of frames in the original file. That is:
If the original 59.94 file was 3s long, that is 60 * 3 = 180 frames. The exported 23.98 file also has 180 frames, but only 3s of image = 3 * 24 = 72 frames, followed by 180 - 72 = 108 frames = 4s 12frames of black.
How can I prevent this from happening, and end up with an exported file that is (e.g.) just the 3s of image, and not 7.5s of which 4.5s are black?
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Thanks,
Robert Schaller

Thanks. If I understand you correctly, it does seem to export correctly if I paste the 59.94 clip into a 23.98 sequence (you can't nest sequences that have different time bases) and export from there, and it doesn't even have to specify square pixels, etc.: the AJA codec implementation seems to take care of that. There is no longer any extra black, so, per file, that gives the right result.
That, however, is only one part of the problem, though a significant part. Next is, I really would like to do this as a batch process, as I tend to have many clips to do at one time. As soon as I try any kind of batch export, I end up with one of two problems:
1) if I try to batch export from fcp, I'm back to having extra black frames, or
2) if I try to batch export with compressor, I get 960x720 files.
If anyone has any suggestions on how to get the right files in a batch, that would be the next step. Is fcp scriptable? And, if so, can you write a script that takes a clip, pastes it into a blank 23.98 DVCPro timeline, sets the correct in and out points (i.e, in at the beginning and out 1 before the end), exports it with a specified codec and time base, with a name based on the source clip, and then repeats that as needed?
Thanks for any input --
Robert Schaller

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Can you post a screenshot of your timeline.
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Square at the end of 90% of my tags., on my foobar2000 tagged MP3 files.

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