clicking on canon 7 d of the noise

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• I have adobe Premiere elements 13. It will not let me delete audio or do fade in or out. I can move the yellow to the bottom line until the volume reads - 0.0, but the noise is still there during playback. I can click on fade and fade out and the yel

  I have adobe Premiere elements 13. It will not let me delete audio or do fade in or out. I can move the yellow to the bottom line until the volume reads - 0.0, but the noise is still there during playback. I can click on fade in and fade out and the yellow line that chart volume takes a strong recovery or dip at the beginning or at the end of the clip, but there is no change in volume when I play back. What I am doing wrong?

  Rickey

  Thanks for the follow-up report.

  Just a lit bulb. Maybe the answer, maybe a spleen.

  Look carefully at the audio track of the timeline in the vicinity of title of the file.

  

  The title of your file audio timeline shows: level of Volume or something else. If something else, click the tiny triangle where

  the red arrow in the screen shot is sharp and select the Volume and then level so that you end up with

  Volume: level as shown in the screenshot.

  Hope it's the factor involved.

  RTA

• All the benefits of trading on a full frame Canon 6 d to the top of a 60 d for horse photography?

  Hello, I am considering upgrading my Canon 60 d to a full frame (6 d), I usually shoot horses in action, and not profiles of head using a Canon 70-200 L IS lens. I would be interested in your comments about whether if the cost would benefit me with this type of photography. Also extra lens suggestions would be appreciated.

  I do a ton of equestrian photography.

  I use a pair of 7 d for the vast majority (90% or more). Those who have essentially the same sensor and high ISO capability as your 60 d, just a slightly more sophisticated (but more sensitive) autofocus system and superior pace. I also have a 5 d Mark II that is proven sometimes useful in low-light situations, but I use it much less than cameras of the harvest. The 5DII can do a higher than the 7 d ISO stop (a 6 d ISO offer slightly higher than the 5DII, as well as the light focusing very low ability).

  Mainly, I'd rather have the 'additional' scope of the cameras of culture as the ISO capabilities of full frame. My most used lenses are the 70 - 200/2.8, 70 - 200/4 IS, IS 300/2.8 and 300/4 IS. I also wear and sometimes use 28-135 IS, 10-22mm, 24-70/2.8 and a number of shorter premium (portrait, macro, tilt-shift).

  In order to have the "scope" of a 300 mm lens on crop camera, with a device full photo frame, I'd have to lug around a 500 mm. No thanks!

  But in general it is more down to the camera lenses, on what they are used...

  What lenses and cameras I use depends on the type of event, I'm shooting, I can be or want to be mobile, an arena covered, or not, if I don't work out.

  For the dressing, I often have to work in covered arenas. But I'm not mobile at dressage events, so I can implement a 300/2.8 on a tripod to reach the other end of the arena and use a 70-200/2.8 for closer shots. I prefer to stop a bit to a depth of field when I can, but like f2.8 available if necessary to get the shots in the darker areas of the arena. As a general rule, except at a very high level, training cannot and must not be photographed with flash. Most of the horses and riders of dressage junior and amateur is not accustomed to Flash. Dressage is progressing more slowly than some other events, so I can shoot with a slow shutter speed in many cases... 1/250 and 1/320 is sometimes possible.

  Hunter/jumper, stock, gymkhana, and English/Western contests are types of events where I need to be more mobile and tend to use the 300/4 IS and 70-200/4 IS for shooting especially pocket. These types of events are sometimes covered arenas, but are often in locations open, not covered. Even if the scene is covered, it is likely be well lit.  It is possible to use the fill flash, but I try to avoid as much as possible and do not use it too close.

  Hunter/jumper, jumping arena, gymkhana and all kinds of competition stock tend to move around, so I need to use 1/640 or speeds, faster shutter so I want to freeze the action.

  For path testing I try to wear minimal gear because I walk the track with the horses and the riders (not all 6 to 10 miles of most of the formations of TT), but it is completely outdoors in a good light. I use especially 28-135 on a camera and 300/4 IS on the other. I had trouble with the noise of the 5DII in settings quiet test track, but not with the 7 d or even using the 5DII in arenas noiser (I know the 6 d and 5DIII have "calm" modes, but did not use them, what isn't sure how effective they are, or if there are any other questions their use.)

  Cross-country skiing is a type of event where I always struggle to know what to do. If I work close to the House or take a walk outside on the course, I could take more lenses and tripods. But if I'm hiking, I'll opt for the lighter things.

  I sometimes use the 5DII full frame planned, portraits stationary (after the test to see if the horse responds to the sound of the shutter). I also sometimes will use it in particularly dark locations. But usually even those I can find bright spots and those with my 7 d work instead. Then I might be only limited shooting in particular parts of the arena.

  If I could wear only one, it would probably be a device to harvest... on a budget of 60 D-70 D sensor, 7Ds work well for me for more than 4 years and more than 100,000 clicks and will probably get replaced with 7 d Mark II when those who are available. (In the past I have widely used 50 d, 30 d, and 10 d, too.) A unit of harvest gives the most versatility and flexibility, IMO. It offers the "extra scope" which allows the smaller, lighter to, cheaper to serve, as well as all the goals both lenses EF and EF-S can be used (a full frame camera is a bit limited, EF only).

  But, of course, of 6 d low light capabilities could be nice sometimes. It's probably a good two ISO stops rain able your 60 d or my 7Ds... and it's AF is able to concentrate in the lower light about two stops, too (-3 EV, compared to 1 EV). Note that the 6 d is limited to a large extent to the Center AF point only, for any AI Servo/shooting action and low light. (It would be good for me... same thing is true of my 5DII and even with 7Ds and 50Ds, who have much more capable peripheral focus, I still use as the center of a large part of the time.)

  I hope this helps!

  ***********
  Alan Myers

  San Jose, California, USA.
  «Market softly and carry a great lens.»
  MATERIAL: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
  FLICKR & REPROGRAPHY

• Adjustment with exposure adjustment brush cancels the noise reduction

  Hello

  I just noticed the following problem:

  (1) camera Raw 6.5; Bridge CS5 (4.0.5.11); Mac OS X 10.6.8; Mac Pro 3.1; Dual Quad-Core Xeon; 8 GB OF RAM.

  (2) start with a loud raw file (mine is a Canon 5 d II).

  (3) apply to noise reduction (luminance: 30;) Detail of the Lum: 75; Lum contrast: 0; Color: 25; Color detail: 50).

  4) go to the adjustment brush and set a nonzero exposure value.

  (5) apply the brush to the image and notice the effects of the noise reduction to disappear (noise returns).

  6) click clear all button to clear the adjustment brush and the noise reduction works again.

  This seems to happen only with brushes of adjustment with a nonzero exposure value (application of brightness or other settings do not seem to produce the problem).

  Anyone else seeing this?

  Thank you!

  There are a few known issues with the exposure setting local leading to overall appearance of the image changes, especially in the highlights.  The problem with the noise should already resolved with the ACR 6.6 release candidate (RC), currently available.

• dv8000z Windows 7 32 bit updated to XP and the noise disappeared.

  My dv8000z has been upgraded to Windows 7 32 bit and the noise disappeared. I installed sp35908. When I ran this program as a Vista 2 that it will fail to install, with comment, message "cannot find the MEDIA device for the driver. Any advice?

  Hello:

  Try this driver.  If it does not install automatically then proceed to the next step.

  http://h10025.www1.HP.com/ewfrf/wc/softwareDownloadIndex?softwareitem=ob-46818-1 & CC = US & DLC = in & LC = on & os = 2093 & Product = 1147474 & sw_lang =

  Conclusion of any windows error.

  Go to Device Manager and click on the multimedia audio controller needing drivers.

  Click the driver tab.  Click on set to update driver.

  Select her browse my computer for driver software, and at the bottom of this window, let pick me from a list of drivers for devices on my computer.

  Select disk, and then navigate to: it\: SWSetup\sp34567\CPL309Ba and select the Conexant AC-Link Audio device from the list and see if the pilot goes like this.  Reset.

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• A way to be precise with the noise removal filter

  Hello! as the title says, I need to learn a method to apply this adjustment only to the tip inside areas of an image. as I'm sure you know, the filter options remove noise will do the job at the expense of the loss of sharpness if necessary. remove the most noise, lose clarity. It's a blur, actually. so, how can I quickly and accurately make a selection of the only areas of detail/edge of the image (the time factor is especially important if your dealing with a pretty complex picture with many lines - my case, actually)?

  With an image like this, I and just create a new layer with the noise reduction. Then, I use the brush on a mask tool to remove sections of the line of the layer with the noise reduction. It's easy with this, because they are all straight lines, and you can click the top of the line with the Brush tool, shift click down the line to have a very straight and precise line on your mask.

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• How to prevent echo over the noise reduction

  I had a dickens of a time trying to find how to reduce the echo that remains after the removal of the background noise. However, I do not give to the top and after playing with some of the settings, I believe that I thought about it! I use Adobe Audition CC (6.0). You'll want to follow the steps below as a means of noise reduction, not after it. So we prevent the echo over the noise removal, do not get rid of it... if that makes sense. Then, start with your original audio with noise, then...

  1. Perform normal selection of background noise and sampling procedures, it (SHIFT + P)
  2. Select all audio data (CTRL + A).
  3. Prepare to apply the noise reduction: Effects > restoration/noise reduction > noise (process) or CTRL + SHIFT + P
  4. In the window that appears, I played a bit with the three parameters (see image below):
     • (85%) noise reduction slider
     • Reduce by slider (approximately 40 dB)
     • In the "Advanced" section (you may need to click on the small triangle/arrow to decompress), the spectral decomposition rate (10%). It is this final setting that makes a HUGE difference!
  5. Put audio on the loop if it is a small clip and click the play button to hear a sample of the noise reduction applied.
  6. Adjust the three above mentioned settings until you get the desired effect.
  7. Click 'apply '.

  I hope that helps!

  

  Can I make a suggestion?  Although you're experiences were useful, trying to find a unique size of the entire solution "one pass" probably doesn't give the best results.  Basically, if you hear NR artifacts (the quality that you are referring to) any point you made too much noise reduction only once.

  As a general rule, you're better off doing 3 or 4 passes the very slight noise reduction, entering a new sample of noise each time.  For most 'normal' noise, it can also be very useful to increase the size of the FFT (in the Advanced menu) a parameter preset or so before grabbing each of these sequential noise samples.

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