Workin with Different Layers of Audio

I'm editing an interview. I want to add background music to the interview. I imported audio, but after inserting the audio on the timeline, the inviewee is heard fine and the audio a popping sound similiar to the audio in the countdown before movies or a audio test heard on the radio.
Any suggestions?
- Anthony
A side question, Sony Vegas or Final Cut?
I'm familiar with Sony Vegas and Adobe Premiere, but I switched to Mac.

The "popping" sound you're hearing is a "needs render" indicator (notice the red line at the top of your sequence?). So you need to render the sequence so all the audio will play back. You can adjust the number of real-time audio tracks in your User Preferences so you don't have to render each time you make an adjustment.
However, if the music you're bringing in is an mp3 or any file other than that which would match your sequence settings, you will have to render regardless of how many tracks you've set to play real-time in your prefs. To avoid that, you can bring the music track in to a separate sequence, render it, then export it as an AIFF and bring it back in to your original sequence.
Does that help?

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Need to export file with different layers selected automatically

I have a file with a background and various text layers.
I want to select each text layer individually and export them to a file, but I don't want to do this manually because it would take a lot of work.
My question is, how would i tell photoshop to export X numbers of files. Where X=number of text boxes.

I still don’t quite follow: Should the resulting files combine one of the text-layers with the lowermost layer or display only one of the layers?
Because I thought Export Layers to Files would do the second.
Anyway, the following might help, You would have to enter Your intended gif-settings in the Script manually though (see »Photoshop CS4 JavaScript Ref.pdf« or ExtendSctipt Toolkit’s Help > Object Model Viewer for the correct nomenclature for the various options).
And You should adjust the naming-procedure to Your liking, I didn’t use the actual layer-names to avoid possibly overly long names.
Paste the following text into a new file in ExtendScript Toolkit (part of Photoshop’s installation) and save it as a jsx-file into Photoshop’s Presets/Scripts-folder.
After restarting Photoshop theScript should be available under File > Scripts and can be assigned a Keyboard Shortcut directly, recorded into an Action or (in CS4) be used in a Configurator-Panel.
// saves gif-copies of the backgoud-layer with one of the other layers visible in the same location as the original file;
// existing files of the same names will be replaced without callback;
// use it at your own risk;
#target photoshop
if (app.documents.length > 0) {
var myDocument = app.activeDocument;
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var docName = myDocument.name;
var basename = docName.match(/(.*)\.[^\.]+$/)[1];
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thecopy.saveAs((new File(docPath+"/"+basename+"_"+n+".gif")),gifOpts,true);
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What is the best way to deal with different audio sample rates on the same timeline ?

what is the best way to deal with different audio sample rates on the same timeline ?

You don't have to do anything special. If possible, start your project with a clip that has the desired target frame rate and audio sample rate, and your project parameters will be set automatically. Other sample rates will be converted under the covers.
For example, if your video is shot at 48khz, you can add music files at 44.1khz with no problem.
If you are recording audio that you want to synch with video (multicam), you will get best results if everything is 48khz, but you can use 44.1 if that is all you have. Once I forgot to reset my Zoom to 48,000 and it still worked.

Collapse multiply layers with different transparency into a single solid filled layer

Hi,
I want to collapse a complex scene with all different layers and different transparency into a single layer (or as few as possible) to optimize the flash file for online (were experince proformance issues).
I have tried the combine and manually copying pasting into one layer but it cuts the fill below and replace with transparent fill. I want to have a end file that is 100% solid.
Is this possible?
Thank you
Darren

You can create groups and then paste all your groups in a single layer. That won't 'cut' them into each other and the transparency should be maintained. It won't help you with performance though, since the complexity remains the same.
If you have tons of complex vector shapes, it might be a good idea to create a transparent PNG bitmap from illustrator.
That may increase your filesize but it will give you a tremendous performance boost.

Export with different audio levels

I need, very often, to export the same clip with different audio levels.
Is it possible to make presets with altered audio levels, let's say one for -12db and one for -8db.
Until now, i alter the audio level in Premiere, then I make one export, then I go back to Premiere, change again the audio level, I make the second export etc. It works, but it is very time consuming.
Thanx in advance.

It is currently not possible. However, feel free to log a feature request:
https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform

Several layered effects of the same kind but with different adjustments for the same layer

Hi,
I wonder if it there is an easy way to have several different instances of e.g. glow or bevel and emboss on the same layer.
I know I can achieve this by using smart objects or a duplicate layer with zero blending.
I just wondered if there is a way to do this directly in the layer effects.

Hi emil emil,
thx for your answer!
I wasn't even refering to different objects on the same layer, btw. it would be enough if I was able to layer e.g. different bevel and emboss on top of each other (With different colors, softness and size.) But I guess the answer remains the same.

Merging/Flattening Layers with different blending modes and maintaining the visual appearance

Hello,
I see there are many others that are having the same problem as me. And alas, it doesn't seem like the problem has been solved or very understood for that matter.
I want to be able to take a document, that has multiple layers, inside of multiple groups with various layers having various blending modes applied to them and from within that document, select simply two of those layers, one with a Divide blending mode and the other layer Normal, merge those two layers, but have the visual appearance of the merged layer maintain the visual appearance of what the layers looked like before I merged them.
Everytime I attempt this, Ps takes my Divide layer, reverts it back to Normal and then merges the layers, thus changing the appearance of what it was before the merge. This is not the desired result.
I understand that when you flatten an entire series of layers, it applies all the blending modes and maintains the visual appearance. Is there a way to do this with just two layers instead of all the layers? If so, that would be great information. If not, why not?
Thank you
Jake

Short answer: No.
A "layer" with a specific blending mode implies a sequence of math operations on a given pixel. Think of the visible pixel R, G, and B values as the result of a potentially complex math formula that combines numbers from each layer in complex ways (those ways being defined by the blending mode you've chosen). You can't always simplify particular factors of your choosing in a given math formula.
The next step is to examine why you would want to do so. Perhaps there's a more direct way to achieve your goal that would avert the need entirely.
Another possibility, if the effect of several layers together is something you'd like to manipulate as a unit, is to Group the layers.
-Noel

For the love of Jeebus, please tell me I am missing something with PP's janky audio workflow

OK, I've read the help docs, gone through the tutorials, watched the videos. Still I am not finding an efficient workflow for dealing with audio in PP. Let's face it, audio in 5.5 was completely baffling to us newbies jumping ship from FCP 7, and I thought the CS 6 update was going to simplify things. No dice. As I am a somewhat recent transplant, I am willing to admit that…. wait, nay, I'm HOPING that I am probably missing something here and that it's just stupid operator error. Fingers crossed.
Here's my situation. I am editing a documentary that has hundreds of hours of footage and thousands upon thousands of clips. We are working with three different kinds of audio: stereo, mono 1 & 2 (interviews with a lav mic on channel 1 and boom on channel 2) and mono (interview on channel 1 with lav microphone only). Here's my problems:
If I set the audio so that they're all stereo clips
Then I'm running into problems with the mono 1 & 2 tracks. Say the boom audio is better on the right channel, and I want to silence the left. I turn the left channel off. Then I want the boom audio to be on both channel's equally… well, I can't figure out a way to do that. In FCP, I would just put the pan to center, and the audio would play the right channel's audio on both channels equally. With PP, panning does nothing but adjust how much of the boom is heard, as opposed to how much the lav (now silent) is heard. I can't find a way to pan the boom to the center, so that it is heard equally on both channels.
If I set the audio so that they're all mono 1 & 2 clips
Doing this solves the boom/lav problem as listed above, as the mono tracks seem to center pan and play on both channels equally, so simply deleting the lav works well. However, now if I have a stereo song that I want to keyframe some fades in (say a music bed playing in the background that I want to fade lower when a person starts talking)… now I have to pen tool in keyframes for the left track AND the right track separately, try to get the fades to match on each track, then separately fade the audio back in for each track. So essentially I've DOUBLED my work for each of the tracks I've marked this way.
As a note, I love having found this out the hard way, after editing a 20 minutes interview into bits and pieces scattered across my timeline, and then finding out I should have set the audio to Mono 1 & 2. Easy enough, I thought, as I went back to the Project window, found the original clip, then went to modify the audio so it would work in my project. I got the extremely helpful message that "Any changes you have made to the number of clips or the type of those clips will not be reflected in the existing timelines. Do you want to continue?" YEAH! That's super. You might as well have put "Making this change now will do nothing to help you. You'll have to go back and edit everything again. Do you want to continue?" Great, Adobe, thanks. Bang up job there.
I was really happy about not having to transcode in PP like I used to have to do in FCP 7. That was until I realized how the audio worked, and for the latest scene of this documentary had to go through every clip/camera download to figure out how the audio had to be set-up before I could start editing. Transcoding a big job used to take me a day. Configuring the audio in PP for this one scene took two.
I would be the happiest person on the planet to find out that I've been wasting my time and that there is a simple solution for all of this. Hope someone can point me in the right direction and thanks for any help!

I'm not suggesting any of this as a model, and your needs are different than mine.
1) Go to Preferences -> Audio. Under "Default Audio Tracks", Set "Mono Media: Mono". Set "Stereo Media: Mono" (Choices from the pull-down for both are Use File, Mono, Stereo, 5.1, Adaptive)
You can change these, but I don't. I am using both mono and stereo tracks. I set up a custom sequence with the particular combination of stereo and mono tracks I want.
2) Set audio for clips by selecting all clips and going to Modify Clip -> Audio Channels Tab. Under "Number of Audio Tracks" there should be a "1". Under Channel Format it should read "Stereo".
I am not sending the audio to anyone else to edit further. I am doing a final stereo mix. If camera one is set up to record 2 mikes as a stereo track, then I leave that unchanged and put it onto a stereo track. If camera two is set up to record one mike onto channel 1 as ambient sound and channel 2 is a mono feed from a sound board, then I modify those clips as Preset Mono, 2 audio tracks, Channel format Mono, and that puts the left source channel (or whichever I choose) onto Audio track 1, channel 1 (of one), and right source channel onto audio track 2, channel 1.
4) Delete all the existing audio tracks in the sequence and replace them all with mono tracks, so all tracks in the sequence are mono.
I modify the tracks while creating the sequence, and ultimately use a custom sequence.
Under my Effects Controls panel there is only Channel Volume, and nowhere to adjust the pan.
I'm using the mixer, not the effects control panel.

Exporting multiple video tracks as 1 file with different effects on each track.

I am currently trying to export 3 video tracks as 1 mp4.
Each track has exactly the same footage, but with different effects to achieve a certain aesthetic.
When I view the sequence it in premiere all 3 tracks are displayed correclty.
The exported version appears to only export the uppermost track, track 3.
Track 2 and 3 have opacity set to 47%.
Track 1 opacity is set to 100%.
I have tried exporting a test project that has multiple layers and there was no problem.
I have NOT tried exporting a test project with exactly the same opacities and effects, as it's a bit time consuming. I will do so if I can't get a stisafctory solution from the forums.
The problem, I believe, is down to the layering of effects. In this case on track 3 I have procamp, which is boosting the red in 1 layer. This is the image I get once the final piece is exported - track 3's.
So..
How do I get the effects of each layer to show properly in the export?
and
Why is the exported version missing tracks (or the effects of tracks) 1 and 2?

You didn't answer probably the most important question: whether you're using hardware or software Mercury Playback Engine (MPE). However, since you've set Maximum Render Quality on, it's largely irrelevant.
When you're using hardware MPE or have the MRQ flag set for your export, rendering is performed with linear color. Linear color processing affects how color channels and alpha channels are composited--anything less than 100% opacity is subject to linear color processing. Check out this article for more information on linear color/linear light: Linear Light - Artbeats
Since it sounds like you're seeing the results you expect in the Program Monitor, but not export, I'll wager you're not using hardware MPE. Only by disabling the Maximum Render Quality flag on export will you be able to get results that match what you see in the Program Monitor (within reason, of course). The only way you could see the effects of linear color within Premiere would be to either use a qualified GPU that enables hardware MPE, or go into your Sequence Settings and check the "Maximum Render Quality" option and then render previews.
Please let me know if that helps resolve the issue, or at least provide a little insight into the problem.

Printing 4 copies with different header in smartform

Hi Friends,
I am printing Delivery Note using smartforms, for that i created form by coping SAP`s standard form LE_SHP_DELNOTE with some layout changes.
Its workin fine., but now user wants that it should print 4 copies of that form with different header, like
CUSTOMER COPY, WAREHOUSE COPY, GATE COPY, OFFICE COPY
This is usually done in other companies on carbonated papers, but they want this to print on normal paper.
Please suggest is it possible, if yes how should i do it...
Regards,
Brijesh Soni

Create a secondary window.Select Window type as u201CCopies Windowu201D.The variable SFSY-COPYCOUNT would provide us count of the copy whether it is a first copy, second copy and others. We would use this field to print the owner of the copy.We would define a string, which would hold the name of the copy (bank copy and others) depending on the value of SFSY-COPYCOUNT. Define a variable in the global definition.
Now select your Copies window, right click u2013 Select Create à Flow Logic à Program Lines
The output parameter is W_TEXT.
IF SFSY-COPYCOUNT = 001.
W_TEXT = 'Original'.
ELSEIF SFSY-COPYCOUNT = 002.
W_TEXT = 'Duplicate'.
ELSEIF SFSY-COPYCOUNT = 003.
W_TEXT = 'Tripilicate'.
ENDIF.

Using FMS v4.5.5 with a browser-based audio player running on iPad/iPhone

Hello,
I’m seeking some clarity/guidance on using FMS v4.5.5 (Streaming Edition) with a browser-based audio player running on iPad/iPhone (i.e. under iOS).
Background
I have a Microsoft Windows 2008 R2 Web Server running IIS v7.5 and supporting a website built using ASP.NET and C#. Parts of the website allow a visitor to play a selection of audio clips from our bespoke MP3 library. Due to UK music licencing constraints, we must stream the clip to the client browser – we must not download either part or all of the source MP3 file(s). We therefore had a custom audio player built for us some time ago using Flash/AS3. This has and continues to work very well, and uses RTMP to stream the clips from FMS to the client browser.
As our site has become more established the number of visitors has steadily grown. In the early days the number of visitors from the iOS platform was relatively small but, last month, it had risen to 40%! As Flash is not supported on the iOS platform, this growing group of visitors are unable to fully maximise the benefits offered by the website, which I am now trying to address.
What I’m Trying To Do…
From what I’ve researched and read, I believe that FMS v4.5.5 supports HLS and I need to use this (instead of RTMP) over HTTP between FMS and the iOS Safari client. I have been experimenting with an Open Source player (JPlayer) and a commercial player (JWplayer) and appear to have these playing a MP3 file as a “progressive download” (I think that’s the right term) as all I’m doing is specifying the file path (no HTTP prefix etc.), i.e. the audio is not really being streamed as I require. Unfortunately, I’ve not found / worked out how to configure my FMS to respond to a path request along the lines of:
http://www.myserver.com/live/audio1.mp3
Hopefully someone reading this who is much more expert on FMS, HLS, HDS, HTML5, etc. than me can point me in the right direction!
What I’m confused about…
1) Can all my MP3 assets stay as is and still be streamed to the iOS Safari client? To the best of my knowledge, the key properties of my MP3 files are CBR, 44,100Hz, 320Kbps.
2) If not, can they be converted on-the-fly by FMS or do I need to create additional audio assets to support HLS etc.?
3) If I have to manually create additional audio assets, how do I do that (I’ve seen references to tools from both Adobe and Apple but not actually found the kits)?
4) Some of the Adobe documentation I’ve read implies that FMS support for HLS etc. is only available when FMS is used in conjunction with the bundled Apache web server. As stated earlier, my entire site runs on IIS so does that mean to achieve what I want I’ll have to run two web servers on my physical server – IIS for the website itself and Apache for RTMP/HLS/etc.?
5) What changes do I need to make to my current FMS configuration to get HLS to work? I’m sure someone has been here already and can enlighten me with their experience and hopefully point me to some straight forward documentation to follow!
6) Lastly, and really part of (5), once I’ve got FMS configured correctly, what would be the typical path to a given MP3 audio file that I would give the iOS Safari browser to make this all work.
I appreciate this is rather a lengthy first post but hopefully the background puts my questions (and confusion!) in context. Bottom line is… I simply want to be able to stream audio clips only (no video) to iOS Safari browsers from FMS v4.5.5 running on a Win2K8R2 platform with IIS v7.5, and with no audio content being stored (even temporarily) on the iOS platform.
My thanks and appreciation in advance to anyone who can help me achieve this.
Steve Barker
Business IT Solutions

Hi Apurva,
Thank you for your reply. Unfortunately I am not much further forward, despite having read more Adobe documentation (FMS v4.5 Configuration and Administration Guide, FMS v4.5 Developer’s Guide) and trying different configuration options.
First to confirm a point you made when answering point 4 yesterday. Yes, in my current RTMP scenario I have several MP3 assets (let’s call them Audio1.mp3, Audio2.mp3, Audio3.mp3, etc.) that are made available to a bespoke Flash/AS3 player via the LIVE application. I understand that as I purchased the Streaming Edition of FMS v4.5, a Flash-based player is restricted to using the LIVE application. You go on to say that I “publish” these assets to the LIVE application. I set this up a while back but do not recall having to “publish” anything. All I recall doing was to ensure that all the assets (the .mp3 files) were in a single folder and that the folder was identified by the <Streams> tag in the following file (example shown):
Flash Media Server 4.5\applications\live\Application.xml
                <StreamManager>
                                <VirtualDirectory>
                                                <Streams>/;C:\MP3Library</Streams>
                                </VirtualDirectory>
                </StreamManager>
To the best of my knowledge, I didn’t have to do anything else to make the current solution work. Having read more of the documentation I am still none the wiser as to what I need to do (step-by-step) to “publish” my converted MP3 assets (see next paragraph) to the LIVEPKGR application. Please could you explain these steps to me by way of an example.
WRT your answer to point 1 yesterday, I wish to clarify the exact output I need to create when converting my MP3 assets. Am I expected to produce a Audio1.aac file, or a Audio1.mp4, file, or a Audio1.m4a file, etc.? Or am I meant to be using ffmpeg (either directly or indirectly) with a much more sophisticated command line that somehow generates stream-rated info/files as well? An example of how you would use ffmpeg to convert one of my MP3 assets would be very much appreciated.
Lastly, the coexistence of IIS and Apache (ref your answer to point 2 yesterday). That all made sense but given all the testing/changes I’ve been making I thought it wise to start afresh! So I completely removed FMS from my dev server and re-installed Flash Media Streaming Server v4.5.5 with the bundled Apache v2.2 server. When presented with the dialogue “Would you like for Apache to listen on port 80. If not FMS will be using port 80 instead.” I answered NO. When presented with the dialogue regarding FMS server ports, I entered 1935 NOT 1935,80 (should I have done that as the preamble makes reference to HTTP webserver proxy and HTTP Dynamic Streaming origin services?). I then modified the Application.xml file as described above.
To test the new set-up, I did the following. First, the test environment…
DEV Server
Windows Web Server 2008 R2 SP1
IIS v7.5
ASP.NET v4.0
Flash Media Streaming Server v4.5.5
Apache v2.2
IE v9.0
Adobe Flash Player 11 ActiveX v11.5.502.146
TEST Client
Apple iMac (Intel)
Mac OS X v10.6.8
Safari v5.1.7
Adobe Flash Player 11 Plug-in v11.5.502.146
On DEV Server… launched IE and loaded the home page of my website, which has two elements on it – one to load/run our bespoke Flash player, the other to run JPlayer (configured to use HTTP). I selected our bespoke Flash player and it played a MP3 audio file. I verified this in real-time via the FMS Admin Console on the server.
On TEST Client… entered http://192.168.20.250:8134 into Safari – it comes up with the FMS install completed / test your server page. In the middle of the video display area a black box appears saying “10000 OK” – I clicked OK. I then clicked HDS Single Bitrate – the video plays (Not Using Hardware Acceleration is briefly displayed). There is NO activity logged in the FMS Admin Console back on the DEV server under “live”, “livepkgr” or “vod”. I assume this is because I’ve gone straight to the Apache Server via the port reference – is that correct? Next I tried the HLS Single Bitrate – same results.
The HDS Single Bitrate logs the following in the Apache access_log file:
"GET /hds-vod/sample1_1500kbps.f4v.f4m HTTP/1.1" 304 - "-" "Apple Mac OS X v10.6.8 CoreMedia v1.0.0.10K549"
The HLS Single Bitrate logs this:
"GET /hds-vod/sample1_1500kbps.f4v.f4m HTTP/1.1" 304 - "-" "Apple Mac OS X v10.6.8 CoreMedia v1.0.0.10K549"
"GET /hls-vod/sample1_1500kbps.f4v.m3u8 HTTP/1.1" 304 - "-" "Apple Mac OS X v10.6.8 CoreMedia v1.0.0.10K549"
"GET /hls-vod/sample1_1500kbps.f4v.m3u8 HTTP/1.1" 200 816 "-" "Apple Mac OS X v10.6.8 CoreMedia v1.0.0.10K549"
"GET /hls-vod/sample1_1500kbps.f4vFrag1Num0.ts HTTP/1.1" 200 1143416 "-" "Apple Mac OS X v10.6.8 CoreMedia v1.0.0.10K549"
"GET /hls-vod/sample1_1500kbps.f4vFrag1Num1.ts HTTP/1.1" 200 873072 "-" "Apple Mac OS X v10.6.8 CoreMedia v1.0.0.10K549"
"GET /hls-vod/sample1_1500kbps.f4vFrag2Num2.ts HTTP/1.1" 200 1591984 "-" "Apple Mac OS X v10.6.8 CoreMedia v1.0.0.10K549"
etc…
At this point I’m stuck once again since I’m not clear how to construct the JPlayer HTTP reference. You have suggested:
http://192.168.20.250:8134/hls-live/livepkgr/_definst_/livestream/livestream.m3u8
That produces the following in the Apache error_log file:
[error] [client 192.168.20.4] File does not exist: D:/Program Files/Adobe/Flash Media Server 4.5/webroot/hls-live
If I change the JPlayer HTTP reference to:
http://192.168.20.250:8134/hls-vod/sample1_1500kbps.f4v.m3u8
the audio from the video plays.
Also, if I look in the applications\livepkgr folder structure there is only \events (with sub-folder _definst_ and sub-sub-folder liveevent) – there are no _definst_ , livestream , streams folders etc. So besides me not quite understanding the logic/flow here, I seem to be missing a few folders/files too! I’d be very grateful for any light you can shed on all this. Plus an example of what my HTTP string should ultimately look like; for example:
http://192.168.20.250:8134/hls-live/livepkgr/_definst_/livestream/Audio1.m3u8
Apologies for such a long reply but I’ve been at this for over 10 hours today! I feel I’m getting closer but clearly there are still some gaps and configuration errors.
Thanks again for your time, support, patience and understanding.
Kind Regards, Steve

Can i record with more than one audio interface

I need to record 16 tracks, I have two different audio iterface, in GarageBand i can only find one of them, if i go to prefrenses-audio, I can set any of them as my audio interface, but only one at the time.
Any tips to how I can use bouth simultanious? Cubase, Logic mabye, GarageBand no can do? :-)

josteinfromoslo wrote:
can i record with more than one audio interface
yes, create an aggregate device:
http://www.bulletsandbones.com/GB/Tutorials.html#allaboutaggregatedevices
(Let the page FULLY load. The link to your answer is at the top of your screen)
josteinfromoslo wrote:
I need to record 16 tracks
GB can only record 8 tracks at a time, however that is 16 channels, so with some extra effort you can get the outcome you desire, see the second tip here:
http://www.bulletsandbones.com/GB/TricksHacks.html

Export multiple images with random layers

I have this texture file that has many different variations to it. (3 different kinds of pants, different hairpieces, some optional items, etc...)
What i want to do, is export it with random layers selected. (there are also folders inside, it's fine if i have to merge the folder into a single layer, but it would be better if it could treat the folders as a layer)
There are 2 layers that must always be on,
then there are 6 other layers that can be mixed and matched completely at random.
Finally: there are 3 layers that only one of them can be active at one time (if one is active, the other 2 cannot be). Those last 3 layers I wouldn't mind if i had to go through manually and remove the combinations that couldn't work, but it would be much better to have it automatic.
Is there any way to script this so that it exports all of these textures as *filename*_*variation#*.png

-the first 8 lines just make sure there is a valid document open, and if there is, find out the file path and everything
Correct.
But I cut corners, if I were more diligent I would also check for the existence of more than one layer and that the file has been saved at all (otherwise it has no path and an error occurs) etc.
-line 14 just makes sure it outputs no more than 20 images (which i find odd. the texture files are extremely small ~6.82 kb each, so loading them won't be a problem. it would be good if it got stuck in an infinite loop)
Feel free to change it to a higher number.
To create 100 files change to
for (var p = 1; p < 101; p++) {
Why is thearray2 put in thearray, but then never used separately?
The function RandomShow checks if the elements in the Array are Arrays themselves
if (theObject.constructor != Array) {
and just assumes it is a Layer if it is not an Array.
But when it is an Array the function RandomShow is run with that Arrays elements as arguments.
This is intended to enable the various rules – for example if you have two or more Layers of which only one may be visible you could put them in such an Array with minimal and maximal set to 1, which should only make one visible.
But – and again I should have included checks for this – you should not put a Layer in more than one Array.
In the example changing theArray2 to
var theArray2 = [[theLayers[0], theLayers[1], theLayers[2]], 1, 1, "no"];
would mean that 7, 8 and 9 would only be visible individually.
But as theArray2 is itself part of theArray it may be visible or not unless it is set as the baseLayer.
Or rather it would if I had not forget to check the baseLayer item for being an Array itself …
So please change the affected if-clause (should be about line 34) to
// show the baselayer;
if (baseLayer.constructor == Number) {
          var theObject = theArray[baseLayer];
// show baselayer if layer;
          if (theObject.constructor != Array) {
                    theObject.visible = true;
// run function if baselayer is an array;
          else {
                    RandomShow (theObject[0], theObject[1], theObject[2], theObject[3])
          maximal--
-baselayer is defined (but i can't find out where to input what it is, do i put it in place of the "no" on line 15?)
The function takes four arguments,
• the Array
• the minimum number of visible elements
• the maximum number of visible elements
• a layer that should always be visible identified by its place in the Array
So when invoking the function RandomShow and wanting the first layer in the Array to be visible it would be:
RandomShow (theArray, 1, 5, 0);
-for the layer array do I put in the actual layer names?
If you want to address a layer with teh name »Layer 1« by name (top level layers that is, layers in Groups are filial to the Group) you can use
myDocument.layers.getByName("Layer 1")
-If I currently have layers hidden, how would i tel it to not add those to be randomly shuffled and made visible (it was randomizing the texturemap and the other layer that is there for future reference into the compiled pngs)
Whether a Layer is visible or not is irrelevant in the curren tform of the Script, the Layers are addressed in the Array.
Introducing a check for visibility would be possible, but make the function a bit more convoluted as this would also affect the maximum number for example.
I don’t think I answered all questions, but maybe you’ve made progress on your own already and you can always post again if matters are still unclear.
Maybe the function is more complicated than it would need to be or maybe it will not be able to accomodate all your needs currently, but one could for example extend the baseLayer argument to an Array itself to have more than one element (either Layer or another Array) that will always be visible … there are still possibilities but the issue might be a bit complicated.

Does Encoding AAC Files with VBR on Improve Audio Quality ?

Does Encoding AAC Files with VBR on Improve Audio Quality ?
Are there Disadvantages ?
Bonus Question 1:
Usually, an 'auto' type encoding tool will screw up the natural flow of the music and miss subtle changes in the energy, volume, etc.. -stuff that is just to subtle for it to catch -Generally I wouldn't trust an 'auto' type setting to pick up this subtle stuff. Yet people say using VBR improves sound quality (and NOT file size). Why and how ?
Bonus Question 2:
What is the max bit rate VBR uses ? If I set my AAC encoder to 320 kbps and turned VBR off, wouldn't the sound quality be superior to encoding with VBR on (simply because the kbps are set at 320 the whole time...) ? Sure, the files encoded with VBR off would be larger, but wouldn't the quality be better ?
Bonus Question 3:
Lastly, I did a little test and encoded one song with VBR off and one with VBR on. The VBR song was 1.5 MBs bigger - Huh, I thought, is that increased file size the result of improved resolution throughout the whole song, or just one little section (haven't had time to listen to them)?
Message was edited by: temptemp9

These are some pretty tough questions. I like VBR encoding in general, as it does allow for more complex passages to take advantage of higher bit rates while less complex passages fall back to a lower bit rate, while keeping within fairly consistent file size parameters. Whether VBR yields better results at different target/average bit rates is another matter, and really requires that you encode and properly test output files before deciding on anything but "recommended" settings.
At maximum lossy bit rates of 320 kbps, it doesn't make sense to use VBR. If I recall, the LAME MP3 encoder presets actually preclude VBR encoding for the highest quality files, and the same may be true for iTunes AAC.
I have to admit that to speak with any certainty or confidence about the issues surrounding your various questions, one would really need to encode a bunch of files with iTunes from lossless sources and test them in software such as foobar2000. I could investigate this easily on my own PC, but I don't encode music at 320 kbps AAC, since I have enough disk space to just listen to lossless files. iTunes doesn't display dynamic bit rate changes as foobar2000 does, and I haven't come across any Mac software that does as good a job of allowing for proper testing as foobar2000 for Windows does.
If you really need definitive answers to these three questions, then I think your best bet would be to do as I've hinted and use iTunes and foobar2000 if you've got access to a Windows computer to do this testing and evaluation for yourself, or sign up for a user account at Hydrogenaudio and post the same message there.

Help! Resizing different documents with different resolutions?

Hello!
Please help me with my situation:
I was trying to make an action that will decrease 1 inch to all sides of my document (the document size was 12x36 inches) and hopefully to other documents. I don't want to crop the image, I just want to resize the whole image to 10x24 inches, leaving a 1 inch transparent border (the gray and white checkerboard) to my document. I started resizing manually, but it was time-consuming so I tried to make the action I stated above. I was expecting that it would decrease a proportionate 1 inch to the top, bottom, left and right sides of other documents, but it didn't. Any procedure to make this happen in different documents with different sizes and resolutions?
PS: All the the documents that I will resize would eventually be printed ( I don't know if this would help).
Thank you for your help!

Kursover wrote:
I was trying to make an action that will decrease 1 inch to all sides of my document (the document size was 12x36 inches) and hopefully to other documents. I don't want to crop the image, I just want to resize the whole image to 10x24 inches, leaving a 1 inch transparent border (the gray and white checkerboard) to my document. I was expecting that it would decrease a proportionate 1 inch to the top, bottom, left and right sides of another document, but it didn't. Any procedure to make this happen in different documents with different sizes and resolutions?
Easy to do in a script not so easy in an action unless you know that there is no background layer or that all have backgounds. You can not add transparent canvas to a document with a background layer for brckground layers do not support transparence. Documents may or mant not have a background layer and background layers can be converted to a normal layer. Actions can not use logic without using a script to see if there is a background. My Crafting Actions package contains a utility script for actions that will convert background layers to a normal layer should a document have a background layer. Once you know there is no "Background" the rest is easy to do in an action with menu limage canvas size check relative and set width and height to 1" the will add 1"
Decreasing -1" will CROP any layer the has not transparent pixels in the outter 1"
Crafting Actions Package
Contains
Action Actions Palette Tips.txt
Action Creation Guidelines.txt
Action Dealing with Image Size.txt
Action Enhanced via Scripted Photoshop Functions.txt
CraftedActions.atn Sample Action set includes an example Watermarking action
Sample Actions.txt Photoshop CraftedActions set saved as a text file.
A script can retrieve the width and height of a document to changs size you need to resize the document this will not crop but will resample and you most matain aspect ratio elss resize will distort. Decreasing canvas size may crop...
12 Scripts for actions
Example
Download

Workin with Different Layers of Audio

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