no guarantee of progress consistent clip

Similar Questions

• How to manually activate LowerField music videos in progressive video clips -?

  Hi all

  I have my music videos lined up on my pasteboard AdobePremElement13, they are all in the lower field (and Pal 25f/s (!) 4:3)

  I need to have returned them in a (uncompressed) Avi output in progressive instead.

  (Elements13 does, ok, but I'm not sure on the quality of the connection securing: my editor will compress the avi file on a DVD Pal subsequently, and also as a file to be read on computer and that is why they prefer gradual-).

  Rendering automatically re-encode the file down field in a Progressive file, or there are losses to be expected? or am I limited otherwise to maintain order at LowerField, due to my video clips being LowerField originally?  The problem with LowerField its DVD is Pal, so it seems it should be UpperField (!).

  It was decided that he would develop progressive (non interlaced) as well as the film be read anywhere, but is it possible? and is it possible with Elements13?

  == > why I ask:

  -Of course I specify rendering of time 'progressive' settings, but I want to be sure that I don't have to recode manually each clips video (I have 77 of them) of LowerField to progressive. Should be, how on Elements13? I don't see the device to operate this initial transformation.

  (you can see there are two questions in one, as I am a bit confused by the problem in which I am)

  Much thanks yous!

  Dewey.

  If your original video is interlaced (bottom field first) and your project settings Premiere Elements perfectly with the specifications of your video, then all you need to do is exit your video with a gradual adjustment and it comes out gradually. Without interlacing.

  I don't know how that will affect NTSC to PAL conversion, given that other factors to consider also (frame rate).

  What is the original source of your video? It comes from a camcorder?

  What is the resolution and speed of the video?

• Digital progressive jackpot clip does not

  I downloaded the Mac version of first Pro CC test and can't seem to move a clip when the clip is selected and the numbers (+ # or-#) are typed using the keypad.  I have done this forever with the PCF.  Is this a bug in the first or the trial version?

  I thought about it.  First accepts only 'enter' as the execute key, not 'return' as does CPF.  Little annoying bug.

• The same clips BUT you get the red bar, the other - the yellow!

  Hey people community PP.

  Here's a riddle for you!

  I put a bunch of clips on my calendar. Each first encoded in the same format right ProRes LT, the same pace, the same size.

  However, some of the clips look like they need rendering...

  

  Why?

  I ran my sequence through Pluraleyes to synchronize clips and it was only when I was inside the Pluraleyes he gave me the warning - "incompatible dominant field (bin = progressive;". Clip = odd)

  Funny, I had to my script to run an audio app to find out what the problem was because my video software couldn't informed me that... THANK YOU, ADOBE!

• Implementation and design of the external images

  Hi all

  Well, I tried pretty much everything regarding the code and searches on Google, but can't figure out how to get this script GOT to work. I hope you all can help.

  For general information: I create e-learning modules using the model of existing AS/Flash/XML to the client. There is another separate file that is loading XML content and direct the 'flow' or the progression of the module. Basically, it is divided into three parts:

  1. Chapter = a selection made from a main menu (< chapter > in the XML file) and is an important part. It consists of one to several "pages".

  2 page = sections in the chapters that users can progress up to the via the navigation buttons; each page represents a Flash/SWF file separated with several clips (with audio clips played by another management of XML FILE). Each page also has a certain ACE (ONE) file associated with a create interactivity, an activity or positioning text.

  3 clip = parts based on the audio of each page; represented in each 'page' FLA/SWF by keyframes.

  These modules are produced for both languages - so the use of ACEs / XML to pull in the text of two different files. We also need to shoot images help from XML files. These images are essentially screenshots; Some are big, some are small. According to the placement of the text, we might want to resize the images so that they fit into a certain space. Can suggest you the best way to resize/scale the images dynamically. Basically, if the width of the image is more than 570 pixels or height is greater than 550 pixels, I want to resize it to fit within this space of 570 x 550. You can see the code that I have tried (in "/ /") that did not work. Feel free to comment on other aspects of the code.

  Currently, in the code of the current version, the progress of clips and images are placed correctly (centered in this area of 570 x 550), but obviously not size.

  If you need more to go far, I'm not 100% sure I can provide because of this be an exclusive model, but I'll do my best. Thanks in advance!

  ... (Assume that all variables are set above the following code)

  While (pageData ['clip' + clipNum]) {}

  var t is MovieClip (parent.parent.parent) .textBox ();.

  imageURL = pageData['clip'+clipNum].@image;

  loading text

  t.t.htmlText = pageData ['clip' + clipNum];

  t.t.Width = 375;

  t.t.autoSize = 'left ';

  t.Alpha = 0;

  t.x = 75;

  t.y = 290 - t.height / 2;

  t.Nom ' t = "+ clipNum;

  loading images

  I have = new Loader;

  i.Load (new URLRequest (imageURL));

  i.contentLoaderInfo.addEventListener (Event.COMPLETE, iTransform);

  i.Name = 'i' + clipNum;

  addChild (i);

  this.addChild (t);

  clipNum ++;

  }

  function iTransform(event:Event):void

  {

  var imageLoader:Loader = Loader (event.target.loader);

  var imageWidth:int = imageLoader.width;

  var imageHeight:int = imageLoader.height;

  imageLoader.alpha = 0;

  implementation

  imageLoader.x=700-(imageLoader.width/2);

  imageLoader.y=290-(imageLoader.height/2);

  scaling

  If (imageWidth > 570)

  //{

  var imageNewWidth = 1-((imageWidth-570)/570);

  imageLoader.scaleX = imageNewWidth;

  imageLoader.scaleY = imageNewWidth;

  //}

  }

  function showItems() {}

  If (clipNum > = 1) {}

  var tfadeIN:Tween = new Tween (this.getChildByName('t'+clipNum), "alpha", Regular.easeOut, 0, 1, 1, true);

  tweenContainer.push (tfadeIN);

  var ifadeIN:Tween = new Tween (getChildByName ('i' + clipNum), "alpha", Regular.easeOut, 0, 1, 1, true);

  tweenContainer.push (ifadeIN);

  If (clipNum > 1) {}

  var tfadeOUT:Tween = new Tween (this.getChildByName (' you +(clipNum-1)), "alpha", Regular.easeOut, 1, 0, 1, true);

  tweenContainer.push (tfadeOUT);

  var ifadeOUT:Tween = new Tween (getChildByName ('i' +(clipNum-1)), "alpha", Regular.easeOut, 1, 0, 1, true);

  tweenContainer.push (ifadeOUT);

  }

  clipNum ++;

  }

  }

  clipNum = 1;

  showItems();

  function iTransform(event:Event):void

  {

  var imageLoader:Loader = Loader (event.target.loader);

  var imageWidth:int = imageLoader.width;

  var imageHeight:int = imageLoader.height;

  var imageWidth/imageHeight = aspectRatio;

  imageLoader.alpha = 0;

  If (imageWidth > 570 | imageHeight > 550) {}

  {if(AspectRatio>570/550)}

  imageLoader.width = 570;

  imageLoader.height = 570/aspectRatio

  } else {}

  imageLoader.height = 550;

  imageLoader.width = 550 * aspectRatio;

  }

  }

  implementation

  imageLoader.x=700-(imageLoader.width/2);

  imageLoader.y=290-(imageLoader.height/2);

  }

• Adobe Premiere Elements is not home a video image. Cancel the operation. (For version 3.0)

  This is the message that appears whenever I try to export my film of 6 minutes and 10 seconds. I used 2 "Video effects" and the film consists mainly of AVI files. Someone please tell me why this is happening and how I can solve this problem. Thank you very much

  This error often appears when there is a gap in the chronology of the video.

  What I would do, is to zoom in on the timeline for about the maximum. Press home to get the CTI of the 00; 00; 00; 00 point. Now click on PageDn to scroll you your Clips. With the full zoom, you should be at the level of the frame, so even a gap of 1-frame must be visible. However, sometimes even max zoom not clearly show them. What you need to do, watch ICT's measure that it progresses from clip to Clip. If it seems "hiccups", or "stutter", you've probably found your gap. In most cases, you can simply select (Lasso) all the following Clips and drag them so that the gap is closed. In some cases, you can simply change the out Point of the previous clip to close or extend the Point for the next Clip close. Be sure to check the entire timeline to learn more.

  A small caveat. If do you find the gap and clogged with the Lasso and drag method and also have a soundtrack that extends the total length of your video, check that there are NO more Audio, that you now have video. If you do, you have two choices: click-and - drag tail audio to align it with the tail of your video (only if you have a bit of silence in the audio track, or can change you slightly fade to work the way you want.) Or, you can go in the project Panel and choose the new icon, and then black Video. Drag for welding end-to-end to the tail of your last Clip, then click and drag its tail while you have perhaps a more video frame, only the Audio.

  I hope that you will be able to find a gap, and it will be the problem. As I said, it is usually the cause of this error message.

  Good luck

  Hunt

• Oracle Multitenant - interesting anomaly of ID of container for tablespaces

  Let's say we have a container named cdb1 with some inside containers Multitenant database:

  sys@CDB1 > select con_id, name of the containers of v$.

  CON_ID NAME

  ----------      ------------------------------

  1 ROOT OF $ CBD

  2 SEEDS OF $ PDB

  3 PDB1_1

  Cool, the root container contains common things, the seed contains a model for the creation of new databases-ins and pdb1_1 contains our data.

  Databases have storage space, lets take a look at them:

  sys@CDB1 > select ts #, name, con_id

  v $ tablespace

  order by ts #, con_id;

  NAME CON_ID TS #.

  ----      ---------           ----------

  0 SYSTEM 1

  0 SYSTEM 2

  0 SYSTEM 3

  SYSAUX 1 1

  SYSAUX 1 2

  SYSAUX 1 3

  UNDOTBS1 2 1

  2 TEMP 2

  2 TEMP 3

  3 TEMP 1

  3 USERS 3

  4 USERS 1

  EXAMPLE 4-3

  Cool, we have three containers, and each tablespace is associated to a container, including the tablespace UNDOTBS1 which is used by all containers, but who lives in the container 1.

  Once we connect to our base data plug-in, pdb1_1 we expect to see only the storage space that we have access to in pdb1_1 (and of course, we don't see that):

  sys@PDB1_1 > select ts #, name, con_id of the order of v$ tablespace by ts #, con_id;

  NAME CON_ID TS #.

  ----      ----------      -------

  0 SYSTEM 3

  SYSAUX 1 3

  UNDOTBS1 2 0

  2 TEMP 3

  3 USERS 3

  EXAMPLE 4-3

  And we see exactly what we expect to see, all our storage spaces with the tablespace UNDOTBS1 in container 1... But it's not. UNDOTBS1 is now container 0.

  What? How and why the UNDOTBS1 jumped containers?

  So why, when I'm in the root container, do CANCEL from container 1? Why is it not 0?

  It's the same exact query in CBD$ ROOT and PDB1_1, but it returns different values for the line "even". Of course views $ v are not guaranteed to be consistent, but I suspect that the value passed between select statements.

  The '1' for the root refers to the root owns. Which allows root to modify. A '0' means it is shared and cannot be changed. That is why the '0' is used in the PDB views.

  If you look at the DDL for the TABLESPACE of $ V you will see that the value is mapped to '0' for PDB.

• 1080psf export is possible from first or SOUL?

  I export individual sequences of XDcam EX - 1 starting a sequence, a clip at a time so I can also apply a correction level export. It's 23.967 psf at the origin of the camera. I export format ProRes HQ 23.967 1080 p as reported by Premiere Pro 5.5.1. The time line is AJA 23.98 1080 PSF. The problem is that exports are becoming true 1080 p, not as the original psf. I use clips in another program that does not create a 1080 p timeline, Media 100 Suite 2.1 (the most recent version, is come with the AJA 1080 convince OEM Board that I use). Bottom line, is there a way to get the first or SOUL to export a format ProRes 1080psf true? PSF is preferred in many applications. I don't see any mode choose for discontinuous PSF fibres, even if I'm in a scenario of 1080psf.

  Figured it out. There is a popup window export Codec settings. One of the options is "interlaced." Check this and turns it exports progressive PSF clip. This is the way Media 100 he sees, and he appears on all monitors on the Source and the windows program. Yay!  Thank you all.

• question about clustering configuration in LCDS3.1

  In the doc LCDS3.1, it is said "using the"
  shared-backend = "false".
  the configuration attribute does not have a single, consistent view of the data in the cluster. When two clients are connected to different servers in the cluster, if they make conflicting updates to the same data value, each server applies these changes in a different order. The result is that clients connected to a server to see a view of the data, while the clients connected to other servers have a different view. The conflict detection mechanism does not detect these changes as long as conflicts. If you need a single view of data where both clients are updating the same data values at roughly the same time, use a database or some other mechanism to ensure that the regular blocking is done when updating the data in the back-end system".

  This means using the static-backend = "true" IS guaranteed a single consistent view of the data in the cluster? Or it means that I must use the level of database locking in both cases?

  Here is some info on this to Mete Atamel, engineer of the LiveCycle Data Services team:

  When shared-backend = true, a single consistent data display is guaranteed, but it's not because of the shared-backend itself, but rather the fact that once shared-backend = true, there is a single database used by multiple instances of the LCD screens.

  Imagine a scenario where you have two LCDs nodes in a cluster with the destinations of two data, on node1 and Node2, on management and they are grouped (via JGroups). You can have these destinations maintain their own DB, and when a change occurs in a node¹s destination, destination of the other node gets a message JGroups and updates its own DB. It works but it is not ideal because at some point, you¹re try to maintain the State of cluster even on two different DBs and there are times where connected clients do not get a consistent view of the data.

  Instead, you can use a single database and have the two destinations, talk with the same PB, if you have a single consistent view of the data. When possible, you enable property shared-backend in the destinations of LCD screens, in this way when a single destination updates of the DB and send a message of JGroups the other destination, the other destination do not have to update the DB again, instead she simply passes the update message to clients connected without sending it to the adapter.

• Black screen in PR7 coloring

  I'm trying to put a clip in my project that starts small, loops its way from a distance and gradually filled the screen.

  I got especially, I think, by using one of the presets of PiP and combined with the 3D effect, tweaking the knobs control.

  Now, the clip sort of what I want, but the background is completely black while that progresses it clip inside. I want to give a color on the screen.

  Can someone tell me how to proceed?

  Thank you.

  Make sure that you are using the timeline and the clip that you are resizing is on the video 2 track.

  In support of the project Panel, click the button new item at the top right. (It looks like a piece of paper with one corner folded down).

  Select Cache color and create this clip in the color of your choice.

  Place this clip on Video 2 track, under the clip you are resizing.

• change replication add item

  Hello!!
  
  I need your help again...
  
  I defined a pattern of replication on my data store 'testds2' like this...
  
  CREATE THE REPLICATION testuser.prueba_replicacion
  ELEMENT test TABLE testuser.tab
  MASTER testds2 on '10.129.5.23 ';
  subscribed ds18 on '10.129.5.18 ';
  STORE testds2 ON '10.129.5.23 '; PORT 17003
  STORE ds18 ON '10.129.5.18 '; PORT 17012;
  
  I need to add a group of cache AWT for this replication schema...
  
  I tried to run the ALTER REPLICATION command, but I don't understand how it works...
  
  
  Command > REPLICATION ALTER PRUEBA_REPLICACION23TO18

  ELEMENT ALTER testds2 DATASTORE
  GROUP CACHE INCLUDE testuser. ROOT_CHILD;

  1001: syntax error in the SQL statement before or at the: "DATASTORE", the character position: 66
  ... RUEBA_REPLICACION23TO18 ALTER ELEMENT testds2 DATASTORE INCLUDE VAC...
  ^^^^^^^^^
  The command failed.
  Command >
  
  
  Help, please

  Your REPLICATION CREATE statement has too many semi-colons in there, but I guess that it's just a typo in your message. It should read:

  CREATE THE REPLICATION testuser.prueba_replicacion

  ELEMENT test TABLE testuser.tab

  MASTER testds2 on '10.129.5.23 '.

  subscribed ds18 on '10.129.5.18 '.

  STORE testds2 ON '10.129.5.23' PORT 17003

  STORE ds18 ON '10.129.5.18 '; PORT 17012;

  When you use the REPLICATION ALTER you alter the plan. However, you can use INCLUDE as you have defined a pattern of replication at the level of array legacy. INCLUDE (but EXCLUDE) only work with the legacy replication DATA store level or active / standby pair. If you want to add a cache AWT group in an inherited table-level plan (which not is not something we would recommend!) you must add each table in the Cache Group plan separately something like:

  REPLICATION ALTER testuser.prueba_replicacion

  Add ITEM awttab1 TABLE testuser.awttable1

  MASTER testds2 on '10.129.5.23 '.

  subscribed ds18 on '10.129.5.18 '.

  Add ITEM awttab2 TABLE testuser.awttable2

  MASTER testds2 on '10.129.5.23 '.

  Subscriber ds18 on 10.129.5.18 «»
  
  ... ;
  
  Please note that although you can include arrays cache AWT in patterns inherited from replication, this configuration is strongly discouraged since replication inherited can't stand not properly cached tables. This configuration will not guarantee to maintain consistency between the two groups of AWT cache or between Oracle and TimesTen. Also, after a consistent recovery failure can be complex!
  
  If you want to mix replication you must really use replication active / standby pair (COUPLE EVE ASSETS CREATE) as it fully supports READONLY and AWT and groups from cache to cache the groups and dies guarantee both to maintain consistency and allow a correct recovery.
  
  Chris
  
  

• Apple "final cut pro 7", high res Pro 422lt 1920 x 1080 (odd) clips, is this gradual?, no 1080 progressive setting sequence, how can I ensure that I have the best setting of the timeline for my clips

  Apple "final cut pro 7", high res Pro 422lt 1920 x 1080 (odd) clips, is this gradual?, no sequence definition 1080 progressive

  How can I make sure that I have the best setting of the timeline for my clips. I did all the settings of Mount clips but there is no progressive setting for 1080 p. Images originally dslr Nikon that I used mpeg streamclip to convert to prores. Thanks for your help!

  The frame for you size source of material is HDTV 1080i (16:9). That only sets the size of the image, not the domination of the field, it's what makes progressive or interlaced. The reason it's labels with the 'i' is that when FCP7 was abandoned by Apple, they have never updated the software in order to take account of 1080 p contents.

  To make your progressive sequence, set the dominant field to None.

  gerforce wrote:

  Images originally dslr Nikon that I used mpeg streamclip to convert to prores.

  In your screenshot of the properties of the element for your clip to the source, the material is interlaced. At the original camera file interlaced or progressive?

  Also, the fps footage was actually 30 original and 29.97 not standard?  30 images/s is very limited its use.

  MtD

• You need to stack Clip speed and change of a progressive wave on several clips in the same order.

  Hello! I hope you can help me, because I'm having a dickens of a time with this.

  I import a video file into Premiere Pro, throw in a sequence and start cutting it upward.

  In an 18 minute video, there are about 5 to 10 long 30 seconds speed clips of video I need to run to about 300%.

  This is, in my view, quite simple. Choose these clips and change the speed of a clip from 100% to 300%. Which works very well.

  However, in addition to that, I would like to add a filter to wave (noise) on these video clips to give the impression that these clips are being fast forwarded.

  So, I add a string of wave to each clip, changing Sine to noise, so on. For each filter, actually.

  Here's the curly part. The first clips of two or three, all play at 300 speed and appropriately twinkling like a band being fast passed very well, but after that the clips play speed 300, but the flicker filter is just stuck on a still image.

  The clip is played very much, but the progressive wave is static.

  I can't really think of a way around this. If I apply the wave to not accelerated clip, he plays very well. The only thing I can think is that I need to sort these speed 300 clips so they play just like that without the effect on her, but I prefer not having to go to another sequence, export, re - import and cut them.

  My apologies for the long-winded explanation! I hope that someone out there understands what I mean.

  Is what I am asking simply not possible?

  In any case, thanks for your help!

  Try to use an adjustment layer and copy the FX, (could also add a FX of strobe light to add a little Ribbon jump if you wish).

  Cover the clips that have need of the effect of the AL and adjust accordingly.  If you keep the AL on a dedicated track, you can disable it if necessary to prevent headaches and free up memory.

• Why can I not see the consistent progress bar?

  Hi all

  I don't see the consistent progress bar. Any ideas? If I press first and make very thin I can see it a little. What is my machine or a programming problem?

  Thank you

  

  I conclude that it is with the most recent update. I uninstalled and reinstalled several times and it started working fine until I updated for updates and then it broke again.

  Now the question is who should I report it to get it repaired?

• Can first CS5 tell me if a clip is progressive or interlaced?

  Is it possible to tell from first Pro CS5 if a clip (for example in my project window) is progressive or interlaced?  If not, is there another tool that will be?  Windows Explorer (I use Win 7 x 64) will give me the dimensions of the image and rate, but not I or P.  Thank you.

  Select the item in the project Panel, right-click and select Edit-> interpreting the film. Under the order of the frames. I hope this helps.

  FYI, in Premiere Pro CS6, it will also be included in the information of the project (feature added for CS5) Panel preview area