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• Technique to animate the red squares?

  Salvation of York UK :-)

  I am very new to After Effects, so please forgive the awkward sentences. I am trying to create an effect where three red boxes appear over time. Put another way Sidebar 1 appears 2 boxes appear then all three. Here is a screenshot to illustrate:

  http://i216.Photobucket.com/albums/cc53/zymurgy_bucket/hide-reveal-square-question_zps1e7a 023c.jpg

  The boxes belong to a single layer as part of a logo, ive tried masks and kinds of things but without success. Any method to achieve very much appreciated ;-)

  Thank you

  David

  I would hide the 3 boxes, or recreate them with shape layers to animate the opacity forms individually create a layer above with some shape layers with animation opacity to act as a matte. Both techniques require masking and animating the opacity. Are you familiar with these procedures?

• How to fill a gap in the UK?

  Greetings.  I'm working on a project of Garageband and I was wondering how we can bridge a gap between the two tracks.  I cut a part of the end of a runway and I want to connect it to the next track without changing all its place.  Hope it makes sense.  I could just find an answer to my research.  Thank you very much.

  There are different ways to do you project:

  Suppose that bar 15-17 is the range that you want to cut (bridge)

  Manually move

  Make sure that all parts are cut at bar 17. Now select all regions beyond this 17 bar and drag them to bar 15 as an entire selection

  Markers of the arrangement

  A more elegant solution is to the Arrangement of markers (follow ➤ display Arrangement track). However, this technique requires that you know how to use them. In the screenshot, I created a marker of Arrangement (named 'X') for the section I want to cut out (bar 15-17). If I delete this marker of Arrangement (select this Arrangement marker and press the delete key), that 'time' section is cut, which means that all regions after 17 bar are moved two bars to the left (without having to first select regions).

  If there is any region at the bar 15-17, while the article is cut first by hitting the delete key, when you hit the delete command. Now you have to hit the delete key again and the "time" will be cut.

  

  Hope that helps

  Edgar Rothermich - LogicProGEM.com

  (Author of "Graphically improved manuals")

  http://DingDingMusic.com/manuals/

  "I could receive some form of compensation, financial or otherwise, my recommendation or link."

• account is defined as an administrator of the computer, but behaves as a limited account

  I have my account set as an administrator of the computer, but I can't do ANYTHING. I get an error message. I can't make changes to my desktop or add or remove programs or update windows, etc, etc... Help!

  OK, that's fine.

  for some reason, it seems that problems like yours have been particularly widespread in the last month, and the cause is unknown.

  in any case, what you can do is to try and install a free booty called profile utility cleaner.   I don't know if it can solve the problem, but its worth a try and will not harm your system otherwirse.

  Another thing you can do is to copy your shortcuts to the original admin account in your new thereafter.

  However, this technique requires some precautions to make sure that only shortcuts are copied.    There is a possibility that "maybe" something got installed on your computer and the corrupt program this admin account.

  This occurs with poorly written programs install the program files on the desktop and your administrator account, instead of the c:\program files.

  When you loan to the above process, let know us and we can walk you through it.

• Pouvez HP HDX 18 t, 1200 laptop computer series Sata 3 premium support?

  Hello, newbie here.  I have several HDX-18 t, all of which are premium series 1200.  Summer looking to install Hdd Seagate memorable XT 500 GB (hybrid hard disks) requiring SATA2 support.  In my view, supports existing chipsets SATA2.  However, I am also looking to XT memorable 750Go (hybrid); However, this technique requires support SATA3.  Anyone has any experience with the upgrade of their t HDX-18 to one of these two discs.  Everything and al information would be appreciated.  THX

  bigtuna02 wrote:

  Hello, newbie here.  I have several HDX-18 t, all of which are premium series 1200.  Summer looking to install Hdd Seagate memorable XT 500 GB (hybrid hard disks) requiring SATA2 support.  In my view, supports existing chipsets SATA2.  However, I am also looking to XT memorable 750Go (hybrid); However, this technique requires support SATA3.  Anyone has any experience with the upgrade of their t HDX-18 to one of these two discs.  Everything and al information would be appreciated.  THX

  Hello

  Your laptop supports the connection of SATA 3.0 (SATA II) so the hybrid 500 GB should be fine. You can also use the other, but it will only work at speed SATA II (3Gbps) (such as a hard disk SATA II)...

• With NAT VPN tunnels

  I have read on several posts on the topic and still think I'm missing something, I'm looking for help.

  Basically, I'm now implementing multiple VPN tunnels for external connections. We strive to keep the external "private addresses" our basic using NAT network.

  I can get the Tunnel to work without problems using the ACL SHEEP; However, this technique requires that our internal network is aware of their external addresses "private." Our goal is to enter an address on the inside that is NAT to the external address 'private' and then shipped via the VPN tunnel. Basically to hide the external address 'private' of our internal systems that they would appear as thought the connection was one of our own networks.

  The reverse is true coming from their external 'private' network. Any information of "their" private network external origin would result in our 'private' on arrival address space.

  Is this possible? I am attaching a schema, which could help.

  Hello

  Yes, this should be possible. Lets say you allocate 10.112.2.250 as the address that you use to present the external server 192.168.10.10.

  On your ASA device

  public static 10.112.2.250 (exterior, Interior) 192.168.10.10 netmask 255.255.255.255

  You will need to make sure that when the system tries to connect to 10.112.2.250 it is routed to the device of the SAA.

  HTH

  Jon

• Is it possible to change the dimensions of the stage to the editing in Adobe animate CC?

  Dear community:

  After spendig years to forget my beloved Flash and learn to master the animate dashboard superb I'm back now to formerly Flash, lack of edge animate and experience some old restrictions in CC animate it that drive crazy me. I hope you have a solution for the problem:

  I use external Java - / HTML5-based interactive animations (formerly RIA) Java - / HTML5-based Windows Universal applications (apps-in-a-app) through the MS WebView object. These applications must be able to recognize the changes in orientation of devices and the content in the new landscape to portrait (resp.). Animate of edge did an amazing job to do this:

  Edge animate, the scene was just a symbol that could be changed to the timeline, even in its dimensions. In animations to edge-come to life, he lived above all layers in the timeline. So I opened the way to, say, image 0 to certain dimensions of the landscape and to, say, 100 image to the dimensions of the picture. Using build-in orientationchange action then activated the app is gone to the frame when the user has changed the orientation of the device. I found this easy way to meet policy changes a big improvement.

  However, on a canvas created in Adobe HTML animate CC (formerly Flash) scene seems to be always static, as if it were the case in bad times of Ol' Flash '.

  My question is: there's a possibility to manage the scene as a single clip on top and resize the dimensions to an arbitrary key image as if it was possible in Egde Animate in Adobe animate CC?

  Otherwise, I would like to make a suggestion for this feature of the art Adobe animate CC.

  Thanks in advance - Jochen

  ClayUUID thanks for your reply.

  First of all, I definitely know the difference between Java and JS. It was just a typo which I apologize deeply. Please read JS instead of Java.

  Plus, I could not implement your canvas.height/canvas.width in the Panel shares. However, I tried the following and it works:

  var page_canvas = document.getElementsByTagName ("canvas") [0];

  stageWidth = page_canvas.width;

  stageHeight = page_canvas.height;

  page_canvas. Width = 600;

  page_canvas. Height = 400;

  However, this technique requires a complete programmatic, the new style of all the elements of the scene (layers). An alone cannot do this task visually (as designers would do, or he is so on board animate), and we can't do it on different time periods (as we have beachfront animate). It would be a great improvement, Adobe would incorporate these characteristics of edge animate animate CC - at least for HTML5 canvas projects.

  Finally, yes it is possible with a lot more afford to animate CC.

• How to get AE to remember where active 3D are placed for each shot composition?

  I'll try to explain this in simple terms, as I'm a newbie...

  We will say that we have live action camera images outdoors in an open space in the empty field. Two people are filmed talking to each other, standing in an interview next, sort of in a V angle. The camera that is the current active president and moves from one speaker to the other speaker. The empty field in the background are visible. What happens if we wanted to model import 3D of a tree and a 3D model of a bench Park and composite them in the background behind the first person and to import 3D model of a trash can and a 3D model of a traffic sign and composite those behind the second person.

  Question1: Here, the question is, what is the industry standard workflow? The composer needs to follow the process of model track/match/import for every shot in the scene in order to add the assets concerned 3D EVERY TIME specific? Or is it possible to apply to memory/brain After Effects to be remembered and 'stick' of the asset with "tape" or "glue" on the surface of the soil of the field somehow, so they can simply be imported at the scene when the relevant shooting with the person concerned is indicated? i.e. Person1 has a background of a tree and a bench Park and Person2 has a trash can and a road sign. What is the standard common workflow in the industry for After Effects to 'remember' where to place the 3d elements? Is there a name for the process ' store where are placed the 3D assets "I am talking in Compositing language/lingo?

  Question 2: what happens if two people have left the area 10 feet and then turned and walked toward the area of origin where they stood, but rather than stop there, they continued to foot - i.e. a continuous walk. How we can configure After Effects to remember and show the four 3D assets/models in the appropriate places as people walked passed between them where they have been placed at the origin?

  If you want to add items to a scene and make them respond to the camera, you have only two options. The first is to run a track of the camera at the scene, establish a plan of mass and of origin and then insert your items. The second option is to use equipment of control of movement on your camera and then use these motion control data to control the position of a 3D camera in a 3D application. There is no direct way to import a motion control platform trace data directly in After Effects. I don't know anything about your production, but I doubt that you spend thousands of dollars a day for a motion control platform shoot your pictures. The only other option is to track camera your scene. Since no camera tracking data is included in any video file, you must perform the task of Camera Tracking, establish a plan of mass and inserting layers of reference for each shot.

  AE camera has no lens distortion if you are shooting with a camera that has a lot of lens distortion is a good idea to try to remove as much of this distortion as you can before Camera Tracking. This also applies to the motion control machines. If the lens is pretty much a normal lens with a minimum distortion, you can get away with just followed the shooting.

  Camera Tracker of AE done a very good job followed the shots that have a good amount of fixed geometry in the shot and this geometry has a lot of detail. You cannot track camera something like a Telephoto shot of a crowd of people walking on a sidewalk, because everything in the shot moves. There is no fixed geometry. You cannot walk on a beach and fire a shot of the waves coming and get a camera success follow unless you include enough of the Bank or other things that do not move to give the tracker some fixed geometry for follow up. You can't keep a shot of a wheat field a windy day with blue skies and a combine to harvest wheat, wheat all blowing in the wind, the combine is moving and there is no detail in the sky.

  Now that we have that out of the way, with the right kind of shooting AE camera tracker is very good to generate a precise device that mimics the movement of the camera to film the original video. With a good track, you can insert 3D layers that are attacked to any plan (surface) of the geometry in the plan that you can use to generate a good target. Objects of reference will stay right where they should be. If you want another object of reference plan somewhere between the surfaces that you have identified in the shot, then you can easily add another layer 3D, hold down the SHIFT key and parent temporarily layer to one of the reference plans. This will send you the new 3D object on the same position as the reference layer. Use then other views of EI to position the layer between the layers of reference. IF YOU want to use the same time for several projects, you can duplicate the model in the project Panel and change the comp in doubles. Once you have added the camera and a few layers of reference, you can remove the effect camera Tracker. After the cameras and reference layers are added, there is no other use of the effect in your project.

  If you want to add 3D elements to the scene when you have your camera and layers of reference correctly setup, you can export the project to C4D and it will generate a 3D with the camera project, the lights and the EI reference plans in the right place in C4D. You can then use the reference plans to place your 3D scene object.

  Back in AE if you have obstacles in the scene, as your players walking between the 3D object or layers that you added, and then you use a copy of the layer of film or a solid and Rotoscoping you the layer to hide the parts of the 3D object or layer you need to fix them so the illusion is preserved.

  If you need to generate a 3D model of the objects in the scene that you can do with 3rd party software like summaries. These 3D models can add it to your AE comp first, bringing the news of syntheses in a 3D application. In most cases, with the shots you describe, followed simple camera will do the job.

  Here are two small videos showing Camera Tracking and masking, then Camera tracking for C4D Lite and adding and animating a 3D object. They are very short and not detailed, but you'll get the idea.

  Sometimes, there is another option and is to do these things in 2D using Mocha or stabilize movements in AE, but that's another discussion. Good technique depends entirely on the photo that you use. All techniques require that all the follow-up work and to place layers of reference for each shot, you want to track.

• Can I remote in virtual machines directly?

  I run vmware player on windows 7 and have a few virtual machines from CentOS 6 for Windows Server 2008.  I know that I can access virtual machines by remote access in the host operating system, but it's kind of messy.  I can remote directly in virtual machines? I know I would probably mess with some network settings to make it work, but before that I just want to know if it CAN be done with virtual machines running on VMware player or if I need another (non-free) version or what.

  Thank you

  Access to a Virtual Machine, everywhere, is not fundamentally different, then access to a physical Machine act accordingly and correctly configure makes directly accessed remotely if you want.  The value of the Bridged network adapter, set up your router correctly to the packages before him and you're in business.  It can also be done with the virtual machine Network Adapter the value NAT however this technique requires additional configuration and another layer of process so the bridged configuration and physical router configuration is easier and more direct.

• How to proceed from here, now that I've learned about the .html extension.

  I was happy to Muse for quite awhile. Really excited. The ability to drag and drop and organize the way I thought I would is mind blowing for me. Today, for the first time, I used ftp to download a page of space only to be horrified seeing that this tag with the .html extension. WHAT? What is Frontpage? With the appearance of extension .html as you just woke up since 2002. Look, I don't mind be ignorant or learn from my mistakes, then someone let me know where I am wrong here, but I'm the only one who has a problem with that?

  I saw that there is a work around if you are using Business Catalyst, but what if I'm with Hostgator?

  I'm really just stuck in front of my computer, wondering where to go from here. That's how much I hate the .html extension. I finally have the opportunity to design because I thought, and yet the first impression will be that of the .html? People are going to have to make a link to www.mysite.com.html? SMH. How do you make an art/luxury with this extension of the site and be taken seriously?

  Web servers use the extensions of the files placed on the server to deduct their content type for example Web page, stylesheet, script, image, video, audio, etc. and send these type information content for browsers with these files so that browsers can consume/rendering these files correctly for the site visitor.

  Long story short, if Muse publishes pages without the extensions, the chances are that most of the world would not be able to see these pages correctly in a browser.

  That said, most web servers offer configurations that allow them to associate * extension-less * URL request to related files (with extension) on server (eg). Business Catalyst). However, this technique requires support and configuration side server - which is not controlled by Muse.

  See you soon,.

  Vikas

• Table of $ OBJ is locked during the query

  When we run the following script in Oracle 10 g R2 on Linux:
  

  CREATE TABLE AUDIT_TMP TABLESPACE CIL_DATA AS 
  SELECT * FROM AUDIT 
  WHERE CREATION_TIME BETWEEN ADD_MONTHS(SYSDATE,-2) AND SYSDATE;

  Then the table $ OBJ is locked.
  

  SQL> select object_id, session_id, oracle_username, process, locked_mode from  sys.v_$locked_object;
  OBJECT_ID SESSION_ID ORACLE_USERNAME                PROCESS      LOCKED_MODE
  ---------- ---------- ------------------------------ ------------ -----------
  18        281 SYS                            11460                  3
  SQL>
  SQL>
  SQL> select object_name from dba_objects where object_id = '18';
  OBJECT_NAME
  ------------------------------------------------------------------------------------------------------------------------
  OBJ$

  Can someone tell me like why OBJ$ table is locked. Is this a normal behavior?

  Simplistically: A SQL uses one or more SQL objects (tables, indexes, etc.). A SQL must therefore place a lock of data shared on the object, dictionary use, to prevent someone from edit this object (detached, update its definition, evolution, etc.).

  Think of it as a protection mechanism - for example the SQL cannot run on a table when another session suddenly drops a column of this table that uses SQL as a filter condition. Therefore the shared - lock to prevent the table change it if it is in use.

  Similarly, a change in the data dictionary (create table, alter table, etc.) must also be blocked when you change an object. However, this technique requires an exclusive lock in order to update this object in the data dictionary. Which means THAT DDL must wait a DML on the object to complete, before the DOF can update the definition of the object. And a DML will have to wait a DDL if DDL is busy changing the purpose of the DML want to use.

• How to network two XP running off the same mac?

  I have two machines running virtual XP on my MacPro 10.5.6.  It's because we have a book scanner according, an XP runs the master software and the second XP runs software of the slave.  Basically an XP for the camera on the left and a XP for the right camera.

  However, this technique requires two machines have static IP addresses and connected by a crossover cable.  How could I go to reproduce this situation in VMware fusion?

  You take the path even in Fusion as you would with physical computers. As long as the virtual machines are configured to use the same type of networking (bridged/NAT/host-only), they should be on the same subnet and be able to ping each other. Give them static IP addresses in the range of right (check the DHCP address, they get, this will vary by installation of Fusion).

• Recreate the pencil of incubation in Illustrator

  I am trying to take a friend design pencil and paper and re-create in Illustrator for use in a poster that we create together. She is very competent (away from the computer) and it's my job to get his ideas into the computer. But unfortunately, I'm a newbie to Illustrator (and Photoshop), although I use Fireworks intermittently for years.

  I use CS5 (Illustrator 15.0.2, Photoshop 12.0.4) on Enterprise RTM of Windows 8 and a Wacom intuos 4.

  Here is a fragment of the analysis of the work, I'm trying to re-create.

  

  And here are some of my attempts to re-create using the brushes in Illustrator.

  

  As you can see the results look nothing like the original :-(

  Which leaves me with three questions, even if the first one is the one I need more help.

  Question 1

  Can someone explain the steps I need to take to recreate the pencil, the outbreak of the original article based work in Illustrator, or direct me to a complete tutorial covering the techniques required?

  Question 2

  Maybe I should give up rather try to recreate the pencil line of incubation with a brush in Illustrator and use the trace function? I did not this partly because I want to understand how do as a brush, and partly because I would not be so much flexibility in creating background and text in forefront different combinations of hatching. Should I swap to trace function?

  Question 3

  Should I give up on vectors and try to recreate the work in Photoshop?

  Well, super-easy way is simply scanned at very high resolution, adjust accordingly in PS and do with it. Since this is done using 'real' tools, without other resolution limit that the granular fibers in the structure of the paper finally makes the strange search. If you still he redraws, my first point of departure would be bristle brushes. A few very steep shots with a fan and the low opacity brush would provide a relatively easy way to place these traits. Several stacked traces would then emulate the variations in density. And that means that of course paint you blue stuff first contiguously, then the text on top...

  Mylenium

• NIO selection keys accessible writable

  Hello
  
  I am writing an application server using NIO. It is a "streaming" server when the user opens a connection to the server and leave it open for the duration of its session (so not like HTTP when a new connection is established for each request).
  
  Each user has 2 queues on the server: one with incoming data that was sent by the user in the server and the other with outbound data that must be sent from the server to the user.
  
  My main loop looks something like this (Simplified):
  
  While (true) {}
  Selector.Select ();
  Iterator it = selector.selectedKeys () .iterator ();
  {while (IT.hasNext ())}
  Toucheecran sk = it.next ();
  {if (SK.isAcceptable ())}
  Accept the new connection
  }
  {if (SK.isReadable ())}
  Get incoming data
  }
  {if (SK.isWritable ())}
  Send data to the user
  }
  }
  }
  
  The first two if statements (acceptable and readable) work well. The problem is with the third argument: tell all users are on the system idle. It has no data transmitted by the users on the server, which means the server has also no data to send to the users (their queues are empty). Yet the selector will always return all channels, because all the channels are writable. This causes the loop will be executed over and over again, without anything happening. What I would like, it is that the selector returns only the channels that are writable AND actually have data that must be sent. Is it possible to do something like that?
  
  Thank you
  
  Mathias

  I just wanted to know if there was a way for the selector to only return the channels that are ready for writing AND have data waiting to be written.

  Of course, there is no. How can he possibly know that your application is ready to do?

  I'll tell you: your application registers OP_WRITE when and only when he has something to write, and then, when OP_WRITE turns upward, the channel is ready to write and has something to write. Just like tschodt already suggested.

  But in fact, this is not the best way or the other. The best technique is as follows:

  1. do not sign up to all OP_WRITE.
  2. When you have something to write, just write wherever you are in the application.
  3. If write() returns zero or a length of partial writing, save OP_WRITE.
  4. when OP_WRITE arrives, do the writing. This time if not the write() returns zero or a length of partial writing, write off OP_WRITE.

  This technique requires that you have a ByteBuffer output per channel. In general you need both a starter and a ByteBuffer output per channel. You can store in a context object that is used as the key accessory if you do not have to have external cards to get the string to its buffers.

  This way your application writes to maximum speed and you deal with the conditions of full buffer correctly as they arise.

  NB, you must call it.remove () in your select loop. Do better straigh after the call to it.next ().

• How to improve the performance of EI

  I have a Panasonic HMC 151 and it generates MTS (this is AVCHD) files. I used Sony Vegas as my video editor NLE now for more than a year and acquired After Effects to work on some scenes, where a NLE Editor is short. I'm a bit disappointed by the performance of EI. Don't get me wrong: I love AE! It can work miracles, and he will certainly become a very tool in my toolbox. But at the same time, I thought I'd eploy all processor possible resources, in order to speed things up.

  I have a file MTS, 10 seconds of time, and put that on the timeline in AE, no effect at all. I go try it in AVI, the best settings. AE uses 4 minutes for this rendering. I load the same file MTS in Sony Vegas and go out to AVI here too. Vegas uses 23 seconds! And the resulting files are almost exactly the same size. Using the Windows Task Manager, I can is that when rendering AE, make employment resources 23% occuopies. In Las Vegas, on the other hand, it's completely - 93 to 97%. I have a Quad Core and of course After Effects use a fraction of the power available from my PC.

  As is the case, the rendering speed is not my main problem. I'm more interested to increase overall performance when you work in AE, preview, application of effects and so on. And when it comes to this, things are surprisingly slow and my CPU is essentially idle, or about 25% occupied.

  Is there a parameter of performance in AE, I forgot? Something like "use the n number of cores?

  ingvarai

  ingvarai:

  First and foremost, it is to be noted that the comparison of After Effects to any editing application only in terms of file i/o is not a good idea. Obviously, software editing will be more responsive to that. Performance of the AE should be evaluated in the conext of complex layering and image processing, which is what it was designed to do. In other words, the measure of how long it takes to AE making a naked video clip is not representative of what you can do in After Effects.

  That said, After Effects has a very powerful multiprocessing system in which it engenders a given instance (not a wire but a whole headless version of the application) for each carrot in your computer. Thus, for a quad core CPU, for example, AE could transparently use 4 instances of rendering. However, this technique requires that you have at least 2 GB of RAM by heart, or it will be counterproductive - the rendering of background process would starve and slow things down. To enable this feature, go to Preferences > memory and multiprocessing and activate the section "made simultaneous multiple images. If you do not have at least 2 GB / processor/core, it is important that you limit the number of instances, so they receive no less than 2 GB of RAM each.  This by defining a number of cores/processors free for other applications in this section. In addition, it is not a good idea to spawn instances of rendering for virtual cores (i7 processors in the family may report twice as many physical cores like here because of hyperthreading).

  For more information, see the help page for After Effects on the memory and multiprocessing preferences.

  Note that for formats such as AVCHD, if your project is more intensive I/O-intensive processor (several elements of film with little processing), you can see little improvement because the compression intertrame / time is very intense for decode. If possible, it is not a bad idea to convert these points to a combination of format-codec lossless/no compressed for beter performance. For typical AE projects, that is to say a lot of layers and composting operations, the function of "Render multiple frames simultaneously" can provide drastic improvements in making gears. Still, this depends on the nature of the project.