Transform the shape of wave way

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• How to enlarge the shape of wave/histogram?

  Hello

  I use a dual monitor set up and would like to skip the form of wave and other staff a little, as I have a lot of space on the screen. Its let me slip a little but not nearly as much as I want it. I have CS6, so I don't have the 'A' shortcut key or the arrows to just get out. Is there a way to make larger scopes?

  Thank you

  Kevin

  The largest, you can make is by dragging the border between the staves & the program monitor empty (that your program goes to this other screen) that far to the right as it will go and pull the bar above the timeline down, insofar as it goes. Your tools are smaller then...

  The next thing is... back on CS6 I shouted (well, the equivalent online!) for best extended, particularly for UH... less than optimal Vectorscope. Once in the CC models, the second ish, who had put... a lot. This is my normal Setup, (luminance) waveform and Vectorscope on top and the fashion Parade RGB below.

  

  Neil

• Is it possible to predict the shape of the signal at position B by the measure in a position?

  Hi, I need to know the shape of signal and position phases B, but I have only a single antenna to a position, which is of the form 1 m B. The signal is a source far away.   I think that it is possible to predicte it.

  Like this: first transformation the signal received at A time in the field of fourier-domain, then caculation phase changes of the components of frequency between A and B. After that turn it into time domain, it should be the series of signals to frequency B.

  I simulation Matlab process, but it seems that he has a problem. What is the problem with this method? Are there methods to achieve this coming? Any response will be appreciaged.

  If your antennae are in free space so that you can assume that you have not all paths multiple problems, so it shouldn't be too difficult to predict the relative phase between A and B.

  You should know the angle between the line from A to B and the B line to the source.  You need to know the wavelength.  You need to do a few trigonometry.  In the simple case where all three are collinear phase shift is 2 * pi * (spacing of A - B) / wavelength. For the other angles, you will need to calculate the appropriate triangle.

  If the signal has a complex modulation, especially if it signals a wideband, there may not be any simple way or simple to calculate the phase shift.

  Lynn

• Need help to transform a shape layer in a layer mask blur adjustment

  I understand how to do a blur mask on the image adjustment layer, so it blurs the images below, which is essentially what I'm trying to do, but in this case, I already have the shape layer (or rather imported from Illustrator > converted to a shape layer) and is in a nested composition.

  First of all, is it possible to blur the images of a composition if the adjustment layer is nested in a composition of the child, or the adjustment layer must be in the parent publication; the composition is blurry?

  Second of all, how we simply take a form that they have already created and use that for a mask, in this case, a mask that will blur everything below?

  Forum thanks!

  There are a few things that are not effective in your workflow and your approach.

  Lets talk first about the Illustrator files in After Effects. Firstly, absolutely the only reason you would ever convert a layer to illustrator in a form would be to use animator tools found in the add menu at the top of the shape layer properties in the timeline panel or to animate a Bézier path on this layer. There is no other advantage in converting a vector layer to a shape. NONE.

  Second, if you want to hide an adjustment layer then you can draw the mask directly on the adjustment layer or any layer with transparency, including an illustrator layer, layer photoshop, any hidden layer or layer shape directly on top of the adjustment layer and use this layer with transparency as an Alpha or Alpha reverse cache by approach to the adjustment layer.

  You can use the luminance values of any layer that has no transparency that a luma or reversed hides by luma approach. The white areas offer transparency with luma standard. IOW, if you have a radial with white in the middle and black gradient on the edge and you use a luma matte and white will be transparent on the layer below.

  Standard caches only affects the layer immediately below the source.

  Adjustment effect layers each layer directly under the adjustment layer. Masks and caches can be used to control the effects of an adjustment layer.

  You can also use masks on any layer to control the effect added to this layer if you have a recent version of AE. You will find the option under options to Compositing.

  If you have any layer with transparency or the strong luminance values, you can use Auto Trace to generate a cache for this layer based on transparency or luminance. Any way shape mask or Bézier path can be copied and pasted to another layer.

  We will take your last question now. You should be able to answer. To use any shape you created as a mask, you use this layer as a track matte.

  We will change that approach a bit and assume that you have created a shape layer by using the pen tool or converted an Illustrator layer to a shape. You have a path that you can be found by selecting the shape layer and by pressing twice the key U. find the path you want to copy, rotate options path to reveal animation controls and to set a single keyframe and then copy (Ctrl/Cmnd + c). Even of the forms created with parametric tools like star, ellipse, rectangle can be converted into a path by right-clicking the shape and selecting convert to paths. When you have copied the path put you on the layer where you want to paste the path, select the pen tool to begin to draw a mask, click anywhere on the layer and paste it (ctrl/cmnd + v) and that you have created the mask. This works for forms and masks on any layer.

  Here's a bet to keep everything by copying and pasting masks. The size and position of a path is calculated from the center of the layer and has no relationship to scaling, rotating, or the position of the layer. If you drew a mask on a layer that is resized to 50% and moved to the top right of the comp and rotated 45 ° and then paste this path to any other layer you will NOT get a path in the same position and the same size as the layer sampled in the model. You end up with a path that match if every sampled layer transformation properties have been reset and the layer was at the center of the model and the rotation and scale were normal. You must pay attention to this issue by copying and pasting traces of Bézier.

  I missed a question type. If you nest or call a layer previously and there is an adjustment layer in the main computer it will affect all layers below. If you dial before a layer and a top adjustment layer then only layers in the nested model will be influenced by the adjustment layer.  I replied before but wanted to make sure.

  BE very careful when you watch YouTube tutorials on workflow because a growing number of them is bad teaching techniques and pointing you to the bottom of the dead-end alleys. Make sure you vet your training.

  If you have any other questions the best place to find good community resources is to type a word in the search help field in the upper right of the AE. For example, if you typed layer adjustment or masks, you would find a lot of very good advice on how to use these features.

• Convert a path in the shape of a mask path

  It is a question that has been requested before, but as far as I know, has not received a satisfactory answer.

  So I have a rectangle that I made in a shape layer, and I want to it by using the effect of the race, because I need the form to scale, and I found that the scales from the standard race in a shape layer when you turn the STROKE layer

  But with him being a shape path and a parametric shape path that I can't copy/paste this shape as a mask.

  At this point, @Todd_Kopriva

  usually appears to copy and paste the following text:

  
  

  
  

  "command to convert a path of the parametric form of a Bezier curve layer:

  You can convert a path of a Bézier path after the path has already been created by context-click (right-click or control-click on Mac OS) the Group of properties for the path (for example, the Rectangle drawn 1) and choosing convert Bézier path command in the context menu. If the path is animated (retouching), converted Bézier path is a static path based on the way at the present time; keyframes are lost. »

  Who indeed converts the path, as far as I can see, but unfortunately this does not seem to help me pass this way in a mask layer

  Any ideas?

  
  PS someone else has a really weird problem with this forum where you will write a response and everything suddenly find your cursor/Carat jumped a few lines and you type half an answer at the end of a previous line?

  I went through this dozens of times on this forum. To be successful, you need to set a keyframe. Here goes:

  1. Select your shape (Rectangle 1) and right click and select Convert to Bezier path
  2. Open the Rectangle 1 path and set a keyframe
  3. Copy
  4. Select the layer that you want to add a mask of
  5. Choose the pen tool
  6. Click anywhere on the layer to set the first vertex
  7. If you try to put a mask on a shape layer, you must reset the pen tool to create a mask instead of a new form, before setting the first vertex
  8. Dough

  That's all. Works every time. The only problem is that the layer you add the mask must be posted on the default transformation and the shape layer, that you have copied from must also be to default transformations. That and everything works every time.

• my path of the shape is too large?

  I use a very long form in an animation. It's a simple idea: use a trim road to gradually display a line, all in one panoramic along it, zoom in very closely so that never see us a small part of the path.

  something like that (although I did not implement the camera yet):

  

  the path itself is extremely broad, probably in the neighborhood of 32 k long. I know it's absurd, it's what comes of the photoshop and I intend to adjust its size once I got the correct form. I thought since it was a vector, the size of the canvas was not important in the first step. This seems to be wrong.

  
  

  What is happening is very strange: beyond a certain threshold, I can't change the anchor points that make up the line. in the screenshot below, all the points to the left of the green line I can communicate with normally. to the right of the line, however, they are frozen or locked somehow. I can't move around, I cannot adjust the handles. I thought that maybe the points themselves were somehow got corrupted, so I thought I would try to remove the most troublesome and add new points. I can successfully remove points, but if I add new ones, they immediately respond the path because there are and cannot be changed. so I can remove complexity of the path, but I can not add it. Huzzah! the tide finally turned in my war against the detail!

  

  Some symptoms more:

  (1) as the type, you can see in the first screenshot, it is difficult to frame the entire object in the drawing area. It's as if the canvas has invisible borders I can't scroll in front. I can zoom out far enough to see the entire path, which means he knows what it is * something * beyond these limits, but I can't use the hand tool to explore these areas.

  (2) if I try to move the "latest" mobile point beyond the threshold, it snaps back to a very strange place shaped covering. the behavior is hard to describe, but that's what the result looks like:

  

  (3) reduce the path to a reasonable size, using the layer transform or free transform on all points at a time, does not seem to solve the problem.

  (4) if I take all my points and use the free transform simply * move * their stop left a little bit, THEN I can move these points freely.

  all this seems to me a kind of problem of precision, or maybe someone hard an arbitrary canvas size limit. Frankly, I suspect that this last, because the questions of accuracy would manifest no doubt differently (as anchors to a grid of 10 or 100 pixels, rather than shooting way somewhere else). I'm really at a loss here and risk losing the value of a day's work if I can't understand it. Anyone have any ideas?

  This is a very useful tip!  dethrone the next time

  (only because I had finished about 90% of the shape and wanted to just bang out that last 10% without coming up with a new strategy)

  in any case, I think I figured this out. I am more convinced now that it was a problem of accuracy after all. not only the form wasn't very big, but it turns out that - perhaps because the original path came from photoshop and was copied in this session - the anchor points were all located far from the origin of the shape layer itself. so for me to even move the shape in the view of the composition, he had X translate values between 10,000 and 30 000 pixels. the required number to display not only the transformation, but shifts anchor OF this transformation, I believe, is what pushed me over the edge and beyond the limits of accuracy.

  My solution was to select all the anchor points and drag them closer to the origin of the form (which is #4, since the original observation was be the left screen). This allowed me to use less extreme values of the corresponding translation. between that and reducing the size of the composition that I used for this work from scratch, I can describe the same form using an order of magnitude smaller numbers. I am now well within the limits of accuracy and can move freely once more points.

  It is not that my form was too big, exactly. Is that it was too far from the origin, so the numbers required to describe it were too important. This does not mean that the form * don't * become too big, of course, thats why the Myleniumsuggestion is a very good I will try next time.

  Cheers.

• When I create a rectangle, I can not not change the shape of a rectangle with the cursor in illustrator CC 2014 for what?

  When I create a rectangle, I can not not change the shape of a rectangle with the cursor in illustrator CC 2014 for what?

  Xavigarcia,

  I'm afraid that have met you the Rectangle Live bug that is limited to the MAC versions from 10.7 and 10.8, but not of 10.9 (Mavericks) or 10.10 (Yosemite). If all goes well, the bug will be fixed soon.

  Thus, a switch for the Mavericks or Yosemite with a reinstall might be the way to solve it here and now.

  To get around it, in each case, it is possible to develop direct Rectangles to get the normal old shaped rectangles or Pathfinder > unit, or use the scale tool or the free transform tool.

  A more permanent way round that is to create normal old shaped rectangles, after running the free script created by Pawel, see this thread with download link:

  https://forums.Adobe.com/thread/1587587

• Change the shape of the output signal without initializing the new process of output signal

  Hello!

  How to change the shape of the output signal produced on the output channel without initializing the new process of output signal?

  Thank you

  Yes, you can do the same thing without count/killing the task all the time.

  Attached VI shows how to use redeclenchables AO in the same way, using a meter like time base for the AO.

  Please note that attached VI uses the same Subvi as in the example you posted before.

  Christian

• effect of contour of the shape layer

  Hi, I'm applying an edge effect to a layer I imported from Illustrator.

  I created vector layer with the layer (so it appears as "outlines") and can apply STROKE if I go to 'Add' in the timeline, but not if I apply via 'generate' it does not appear and also impossible to apply effects. I can change the specifications, the width of the line IE, but nothing appears on the screen.

  Kind regards

  Suzie

  Doodle works and stroke on the footsteps of mask, not on the shape layer paths. If you want just for just these types of effects mask path, so you don't have to use "Create forms of vector layer" and instead of this just leave the layer being and copy - paste the path like I showed you before. Another way to do it, if you have already converted to shape and stay in shape too, is to copy the path of the path parameter of shape for the mask path setting (you can simply create a dummy mask so you where to copy)

  

  BTW shape layers have also a few very powerful path here operations: wiggle path can create the very nice and organic Scribble to your contours. but it is not the same as the Freehand drawing.

  

• Morphing of the shape in question, where is my image of key path

  This is probably a really easy question, but I had way too much frustration about that.

  I am morphing shapes I've done successfully, but for some reason, I ran into this issue. When I create a form with the tool pen and then open content > shape 1 > 1 way is the keyframe, the path option.

  The problem:

  I then use the rectangle tool on the same shape layer or a separate shape layer and create my form, and then open content > rectangle 1 > 1 rectangle path and there is not an option for a path keyframe. The keyframe only options I get are size, position and roundness. Where is my path keyframe option?

  Is there a difference I know between the building shape with the pen tool and the shape tool?

  I watched a few tutorial on converting the form of Bézier, but when I click right I do not get this option.

  I use a mac with AE CS6

  Any help is very appreciated

  -Doug

  Make a right click on the name of the rectangle in THE TIMELINE, not the composition window, you can create a nonparametric form by pressing the Alt/Option key and choose only a form.

• How to duplicate a form in Adobe draw? I'm trying to reproduce the shape to draw the Adobe similar to how it is done and it was more right

  I'm reproducing the shape to draw the Adobe similar to how it is done in artificial intelligence. It took me 20 minutes to duplicate a form three times in a mansion of flower pedal.  There must be an easier way!  Any ideas?

  Thank you!

  Rachelle

  I couldn't even find my own post, but here it is: once you have a form that is created, you can easily turn/stamp it several times.

  Re: How can I merge 2 forms?

• Hard to keep the shape size between Illustrator and Photoshop

  I do a lot of my work to vector in Photoshop form, because it has the basic tools I need. Recently, however I wanted to learn and use some more advanced in illustrator forms tools. The problem that I've run is that when I try and move forms between the 2 programs their pixel sizes are not kept at all, not even close.

  I have attached a screenshot showing the same form in both Photoshop (left) and when stuck in Illustrator (right). Note the zoom levels are the same and therefore the pixel grids are the same size.

  

  I need to use the pixel preview mode in illustrator often, so I can't just simply turn off and ignore the difference. This happens when either I paste the shape in illustrator or if I import or drag the shape to a library of creative clouds where I kept the shape.

  Here's the thing, if I'm working on the form at this tiny size in illustrator and then paste it into photoshop, it returns to the correct size. However, if in Illustrator, I choose to use the pixel grid and draw a shape to the appropriate size, when I pick her up photoshop it becomes huge.

  I searched on through all the preferences of the two applications, ensuring that the measures are all set to pixels everywhere, as the value of the 72 DPI sicesdonneessontdisponibles. I even went to the length of completely uninstall Illustrator, blowing all my settings, re-installing and setting up again. Nothing has changed.

  One of my colleagues has this problem at all. A box of 10px in an application becomes a zone of 10px in the other, but we can not simply to understand why it does not work the same way for me.

  Help, please!

  Set the resolution of your Photoshop image on 72 dpi.

• Select a part of the form of Wav in Audition 3

  Hi all -

  Strange problem in Audition 3 that I can't solve.  When I select a part of a form of wav on-screen - hearing doesn't let me choose EXACTLY the part of wav I want - it "jumps" a part of the wav beside the part, what I'm trying to select.  In other words - I can't select smoothly just the part of the wav that I want, as I have always done, go all the way back to Cool Edit (and Audition 3 on another PC).

  Is there a setting in Audition, which governs how much or how little a wav that can be selected?  At this point, I can choose either less than the part of the wav that I choose-, or more than the part I want to choose. I can't select smoothly just the part of the wav I want to choose, as I have for 15 years.

  Any help would be appreciated.

  Bruce

  Right-click on the timeline and see what you have selected in the serpentine path. You will certainly find that it is modified and differs from what you thought...

• How to make Player Mobile (IOS/Android) to fill the shape cells based on the entry in the other cell?

  Hi, is there a way to make Acrobat Reader Mobile (Android/IOS) to fill the shape cells based on entry into another cell?

  I did a time sheet were based on a code entry activity in a description drop-down list box that matches the activity code is displayed automatically in another cell. (see below)

  This works perfectly as long as I'm on a PC, however, does not work on any phone. (I guess that this feature is not yet supported on Acrobat Mobile)

  My question is if anyone can suggest an alternative method for characteristic mentioned that also works on phones?

  Any suggestion would be appreciated

  In the Format field:

  If (Event.willCommit)

  {

  Console.println (Event.value);

  Switch (Event.value)

  {

  case ' 1 01 ":

  this.getField("REMARK1").value = "unloading".

  break;

  case "2 01":

  this.getField("REMARK1").value = "preparing."

  break;

  .

  .

  .

  case "19 44":

  this.getField("REMARK1").value = 'Support-3rd part insp/contract.';

  break;   case "": ""

  this.getField("REMARK1").value = "";

  break;

  }

  }

  Sincerely: Robert

  Try to get rid of this console.println statement. If this does not help, it should work if you convert that from a script from the drop-down list format in a calculation of the field REMARK1 script.

• Problem with the shape tween

  Good day everyone, I have some problems with the shape tween and I need your help and your explanations. The links below: first link is an example of how this drawing must be animated, and the second is my attempt failed. So, why these traits change their shape this way, not as in the first link? Is there a possible way to fix it? I tried to add a few shapehints, but flash has not understood what I wanted to do, boards are simply were red.

  https://www.dropbox.com/s/zf1tk8xi2mp6e31/tradigital_2.fla

  https://www.dropbox.com/s/09fsoq30xjz4vvq/tradigital_fail.fla

  separate your designs so that they are forms.