Pixelation continues with confined comps, 3D layers and caches

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  Is it possible to find 1 the UUID the new SSD, and 2-implementation to date, some sort of Time Machine (perhaps with TMUTIL) 3 information - should allow continuity with the existing backups?

  
  

  T hank you

  I've not had to do this, but a lot of articles about it.

  OS X Yosemite: If you want a new Mac "inherit" your backup history

  http://www.creativetechsupport.com/help/it/install/TimeMachine-inherit.html

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• Firefox is not fully load site Barclaycard of authentication. It load regarding the demand for certain letters in my password but does not load the button 'Submit', so I can't continue with my purchase and I switch to IE8 browser to buy whatever it is ov

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• DAQmx: set up a digital acquisition continues with start and stop trigger

  Hi all

  I write because I can not find a solution to my problem.

  As written in the title, I just want to do an continuous (continuous sampling) a digital line. The fact that it's a digital line instead of an analog is no big deal, I guess. I want to start the acquisition on a rising edge of digital trigger (PFI0 for example) and stop acquisition on a trigger too (forehead down on the same signal (PFI0 even then) or a new front amount). This way I could precisely control the time of acquisition or of the start or stop other devices.

  Since this is a digital acquisition, you need to do first "something": create a fictitious analog input task and get the clock back to the digital input. I setting this analogue of the task to start on a trigger. It works but I can't find a way to stop it on another trigger.

  Do u hav no idea how to implement it?

  Finally I have not found an easy way to break cautiously the VI to wait for a trigger (in case you want to start an acquisition with different settings for example). Do you use the task to Abort or is it better to set a deadline to playback digital channel VI until the outbreak occurs?

  Any help would be appreciated!

  Thank you

  Config: LV 2010, latest version Daqmx and USB card or 6251.

  Hi Chris,

  One way is to use counters as Kevin described. For me, it's usually easier to create the dummy task that has the timing engine (as I HAVE), but it depends on what resource you have on your board you will not need .

  In fact, the example is the same thing that you need to measure continues - just what you need to do is remove the counter part and replace the trigger reference to be external (your stop trigger).

  with this approach, you should be able to do the continuous measurement - I noticed that you need DI - in fact with few changes you should be able to use this example. DI does not have its own timing engine, that's why you should use the external sample clock. If we use the example to create dummy HAVE to provide the sample clock, and we start DI task until we start to HAVE fake, then we can get pretty much continuous clock which begins start trigger and stop the trigger of reference.

  Take a look in the change - once again, I have not tested, but logic seems to be OK.

  

  with sincere friendships.

  s9ali

• Xp pro installation gets past the copied installation files and then restarts, rather than continue with install it starts from the beginning again.

  new installation of XP pro on a Dell Inspiron mini

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  Hi, Leon,

  Always include computer make and model, please.  Thank you.

  Research in the Bios (reboot and press F1 or F2 depending on your system, check that all usb options are enabled (for example, USB legacy or support for USB 2.0 devices).)

  If there is a timeout parameter, set it to Max.

  Then, find the boot device priority section

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  Rearrange the boot device priority so that the flash drive has a higher priority than the hard drive.

  Install Windows XP from USB key

  • Insert the USB key into the USB port on the computer.

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  Type the path of the location of your "I386" folder in the DOS window. For example, if your USB is the letter "D" in your "My Computer" window, type "d:\i386" without the quotes and press the Enter"" key.

  Let the installation program copy the Windows XP installation files on your computer.

  Restart your computer to a command prompt. The Windows XP Setup will continue automatically.

  Follow the on-screen instructions to complete the installation. The program will ask you your Windows XP product key in this process.

  http://www.ehow.com/how_6912418_install-Windows-XP-USB-drive.html

  Make a bootable memory card or USB key using PEBuilder

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• Why has Adobe decided to do cloud subscription and not continue with the Collections?

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  You can always buy cs6 (Creative Cloud now includes the features of Creative Suite Master Collection and Design Premium)and a handful of other adobe programs.

• I have a subscription to Captivate 8 and you want to upgrade to 9, how can I do this without having to pay again and simply continue with my subscription?

  I have a subscription to Captivate 8 and you want to upgrade to 9, how can I do this without having to pay again and simply continue with my subscription?

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  Adobe Captivate Guide of purchase-9

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  Concerning

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• A week ago, I bought a subscription to CC in Adobe Photoshop and Lightroom. I can access Photoshop but this screen still ask me for the license number or if I want to continue with the trial. The same thing happens with Lightroom, only he mak

  A week ago, I bought a subscription to CC in Adobe Photoshop and Lightroom. I can access Photoshop but this screen still ask me for the license number or if I want to continue with the trial. The same thing happens with Lightroom, only it makes me sign and taking me in the tutorials. I can't access the actual program. Help!

  Ask the serial number http://forums.adobe.com/thread/1234635 has a link to FAQ

• Import Illustrator file with several layers and sublayers as composition by keeping all layers and sous-calques

  I drew a map of the country with several layers and sous-calques, including the streets, cities, railroads...

  Now, I want to create a template for my colleagues in After Effects.

  To do this, I want to import the AI in After Effects, holding all sublayers and layers in compositions and subcompositions.

  When I do, I get the first two layers correctly, others just in a merged publication.

  What can I do to get all the layers of each as a layer in After Effects?

  Best regards, Raphael

  Illustrator imports only the first level of the layers. If you have groups or paths below you must release layer groups. The layers will then be stacked in the order in the form of layers. Then you need to move them to the top.

  The procedure is to select a layer in the layer Illustrator Panel, then without selecting any which specific element in the layer click on the menu in the upper right corner and select release to layers. All an elements in this layer will be transformed into layers. Now, select all, and drag them to the top above the original layer. This will leave the empty original layer and put all the elements in new layers.

  Here is a tutorial I made there are a bunch of years and who uses this technique to transform a mixture in a morphing.

  Morphing with Adobe Illustrator. I hope this helps.

• With the help of text and buttons movieclips as buttons to point to the same layered framework?

  I'll have a terrible time with the 3.0 AS and animating CC 2015.2 in this project.  I was given a suggestion, but now I'm so confused output errors that I hope to get answers from you advanced people.

  The project is similar to this:

  Identify the Structure of the trees

  Framework 1 - nothing selected, visible instructions

  Frame 2 - Select sheets by clicking on the image (tree top or bottom) or text, leaves description becomes visible

  Frame 3 - branches select by clicking on the image (tree top or bottom) or text, description branches becomes visible

  Frame 4 - trunk select by clicking on the image (tree top or bottom) or text, description of trunk becomes visible

  
  Suggestion is:

  Do the video clip of each region of image tree and drop it on the layer smaller on top with alpha 0%

  Create a badge of the clip, and then tap on timeline with each framework has put in evidence and description

  Make the text button, then tap chronology framework with each has put in evidence and description

  Trunk frame – more small area place top layer

  Branches Frame - smaller than the leaves but superior to the place of the trunk between the two

  Framework of leaves - most square of the area on the layer under the Branches

  Can anyone offer any suggestions?  I used to program 5.5 Flash with Actionscript 2.0, but difficulties with Animate and Actionscript 3.0.  I don't know if I have to use swaps or specific images, but when viewing, he travels all frames without stopping even if each image as the AS command stop ();

  Thanks in advance!

  
  Rick

  

  Yes, if your buttons or movieclips, overlap one on top Gets the default click event. So, if you decide to create separate movieClips or separate buttons, be sure to give everyone an exclusive space.

  One approach I've used in the past for such things is to open the work, the tree in Photoshop then "cut" art into segments and put each segment in a different layer in Photoshop. Then you can import that art directly in to animate and each layer will import under a separate post. Then you can combine them into a movieClip to a work of art on the stage. From there, you can select each segment and each a movieClip or button you want.

• Get all the layers and apply to other documents

  Hello everyone,

  I'm copying all layers from one document to the other. But just copy paste is not enough for several reasons (root document may already be closed, copy at a time when the new document is not open yet,...).

  This means that I have to remember all the layers and use them later.

  At the moment I am sth. Like this:

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

  public static std::vector < PIActionDescriptor > layeractions;

  Sub testGet()

  {

  Result PIActionDescriptor = NULL;

  numLayers Int32;

  SPErr error = kSPNoError;

  DescriptorTypeID typeID = 0;

  Int32 docCounter = 1;

  error = PIUGetInfoByIndex (docCounter,

  classDocument,

  keyNumberOfLayers,

  & numLayers,

  (NULL);

  If (numLayers > 0)

  for (int32 layCounter = 1;

  layCounter < = numLayers & & error == kSPNoError;

  layCounter ++)

  {

  error = PIUGetInfoByIndexIndex (layCounter,

  docCounter,

  classLayer,

  classDocument,

  0,

  and result,

  (NULL);

  layeractions.push_back (result);

  }

  }

  Sub testSet()

  {

  SPErr error = kSPNoError;

  Result PIActionDescriptor = NULL;

  for (auto & it: layeractions)

  {

  error = sPSActionControl-> Play (& result, eventMake, he, NULL);

  }

  }

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

  So what I'm doing, open a doc with some layers. Then testGet(), open new document then testSet().

  But bench always puts "the command 'Make' is not currently available." and error = - 128.

  Hope you get what I'm trying.

  Thanks for any thoughts!

  Who's going to be a difficult path to travel to this topic. Even if you can get all the properties of the active document and the layers within the document, you have not dealt with pixels on a normal layer data. You will need to save this broad as well. And for dynamic objects and linked smart objects... you have a job to do. Any topic of a document is not capable 'get '.

  Trying to cope with this: "document might already be narrow" would be almost impossible IMO.

  Remember, the source document, which is now closed I now want to copy. Then you can do:

  1. open closed source document. (Or make it more if it is already open)

  2. for each layer in the source document

  a. Select the layer

  b. copy of the document target

  3. close source document.

  The Get accessor routines are not for 'read' directly. You must get the interesting bits of information on and then use the game code that you found using listener.

• You are KILLING ME with the user interface layers

  Why did you move it out of the range of main tools and to the top of the page so I have to hunt for him?

  Why you place it between even designed icons that I hit by mistake whenever I want to move the layer?

  Why do you continue to hide the submenu layers, creating an extra tap to reveal it and slowing down that's me down even more?

  Why you repeat the same menu once for each layer, 10 TIMES, instead of ONCE for all the layers palette, they way it is in ideas?

  The great thing about this app that it can be used as a digital tracing paper pad - sketch and change the opacity of each layer that you refine and position elements in different places. Why do make it it more difficult to take advantage of this feature?

  Hi Don,.

  Thanks for your comments. We moved the layer icon because for some reason many people do not see here where he was. (I'm curious to know what icon you are misunderstanding the layers icon. The share icon? "It will help to know if I can convey this information).

  On the submenu layers (and it's the repetition in each layer): even though this is the first time I've seen comments about its repetition, we receive frequent requests to move somewhere that is accessible with a single click. I don't know what the plan is for it, but I will certainly share your comments passionate with the draw for the team.

  We are pleased that you find useful application. And very happy that you use frequently. Please know with certainty that it is not our goal is to make things difficult.

  Thanks again for taking the time to post.

  Sue.

• Problems with the treatment of images and tapes

  I have thousands of files that need to be addressed. I generated an action command, which, when used manually, seems to work. However, when I try to launch a process of file I get an error message indicating that Photoshop could not process the file at the end of the attempt of treatment. The files that it expel are severe bands where a gradient mask is supposed to fade the edges of the image of a light gray (made with two distinct layers and various gradients). In the action sequence I already changed the modes at 16 bits and added a color raster layer and noise was added twice for her and then changed the opacity and fill at 19% and 1% respectively. I wonder why I can do this and then save it as a jpeg file and don't see any banding, whereas when the files that I made cross, they have bands.

  To solve problems of the strips, I used a technique of dithering by changing modes at 16 bits (which I had failed to do in the previous sequence of action apparently) fill a layer of 50% gray color, pixelation, add noise filters set at 25% monochromatic x 2, then set the opacity of this layer (which is on the top) to 19% and fill to 1%. I flatten the image and then changed to 8-bit modes (that I did not also in the original action sequence).

  This solved a problem since JPEG files that appears crossed out in the gradient layers that I was trying to mislead and kept my files become too large. I don't know why the initial sequence of action failed, but when I used a batch sequence to show me a script error, I found that one of the steps could not be completed. I don't know why, but in any case, I rewrote the sequence of action and I am happy to say after a few odd issues of debugging, it works smoothly.

• PSD layers and updating links

  I love the ability to InDesign to show/hide layers PSD in InDesign and especially to see the Comps of the PSD layer files.

  But InDesign seems wrong to "remember" which layers / layers to show when the updating of links.

  An example:

  Let's say that a product is available in 3 versions: black, white, and blue.

  A DSP contains a productshot in these versions of 3 color using some common and some specific color channels. A model of layer with the color name is assigned to each set of layers that displays the version of color according to.

  Now, it's easy to place the PSD in InDesign, choose 'Object layer Options' (which can contain several other layers) and set the correct layer Comp (for example: 'blue').

  I put "when update link ' to"Keep overrides the layer visibility"to ensure that InDesign remembers the appropriate color when the DSP is changed.

  Now, you feel boredom coming... Let's say an extra red color should be added. I have the Red version (including a 'red' layer comp) adds the same PSD and save it.

  To update existing links, InDesign messes layer Options existing 'object '. The black version will now see the blue, etc...

  "Layer Comp" in "Object layer Options" shows actually 'blue' while he was 'black' before the update.

  Remove the Red layer Comp and save the PSD is yet to restore the right Comp layer in InDesign.

  I used this feature often, and update links never me caused no problems so far.

  Is this a bug, or are the link to update the options for not trusting (and I just lucky in the past was)...?

  Once you use the feature, you cannot add or remove a layer or a layer comp.

  This has always been a known limit. You will find the same

  happening with Illustrator files.