[Norman Frizzle]

You’re a good egg, Andew! That’s by far as clearly as I’ve had put a solution to date.

I have another intresting challenge that necessity is the mother of as well, but I’ll leave it for a seperate posting since it is an issue in itself and unrelated.

[Norman Frizzle]

I’m with you on the first option, although I’m agast that AE does not do the sensible, intuitive thing and allow me to simply keyframe my position as being the final frame for this process.

And unfortunately, even this would do nothing to address the rotation issue. Once again, it is so frustrating that AE is so often unintuitive or COUNTER intuitive! AE’s HELP is NO help, so in total desparation I guess I’l have to resort to the manual!

What I’m doing, namely stabilizing handheld footage is one of the things I use AE for most. But I have never gotten a proper handle on correcting rotation because of the issue of seamlessly matching my start frame of the footage to be procesweed with the last frame before it in my PREMIERE project AS WELLAS the last frame of processed footage with the frame where I must resume in PREMEIERE. I’m wobbly about using ‘null objects’ and other techniques I expect might well come into play, like ‘pre-composing’. As it is, I routinely have to take at least ten STOOPID keystrokes that AE should long since have eliminated. Why does it all have to be so tortured?

I wish someone would do a video tutorial on stabilizing in a real-world situation where shot start and shot end must coordinate with where it leasves off and where it picks up again in a larger timeline. It’s such a routine process with limited variables that I’m sure it would make a lot of lives happier.

[Norman Frizzle]

I must be missing something, Andrew. I’ve been tracking backwards. I don’t know jow you select tracker one or two since both are required at the same time for the correction I need. No matter what I do, I end up with BOTH the new fixed position AND the new fixed rotation according to my first frame, not the last as I want it to be.

[Norman Frizzle]

Sorry our posts have crossed, Jeff. Someone in an earlier forum posting advised me to output on MPG for DVD in progressive. I was skeptical, but was pleased with the result, except for some occasional combing artifact. Normally I would do all processing before this conversion to MPG, but in this instance, I want all the picture information I can get for the procesing.

[Norman Frizzle]

None really, Mike, but if I might breach the area of AE’s forum, what settings should I look for in AE to get maximum color range and minimize combing from conversion to progressive.

(For example, in PREMIERE, there’s a choice between DEINTERLACE and PROGRESSIVE and I’m unsure which would give me best results. DEINTERLACE might require that I discard a field. On the other hand, PROGRESSIVE might not intelligently compensate for movement and result in combing.)

[Norman Frizzle]

Whatever it is, thanks for sharing, Gene! My pasture yields similarly savourable cud.

[Norman Frizzle]

A zippy way I find surprisingly effective is to choose a small brush with a soft edge and stiple in the background within the hair area with the clone tool.

[Norman Frizzle]

To Dave and Timothy,

I do know that one way or other I will get the Dolby operational. What enrages me is that getting full functionality of Adobe’s products is not just jumping through a hoop but jumping through a whole series of them.

The Dolby Digital may be derived from a 3rd party source but it is an integral feature that Adobe uses as a selling point for its product and the responsibility for its operation devolves upon Adobe, NOT the 3rd party provider. Would you look to the manufacturer of a propellor for service to an aircraft? Of course not, it is organic and its use cannot be divorced from the host product it augments.

Adobe’s PC activation process is a strong-arm tactic to compel the user to submit to what is essentially a Trojan Horse virus implant. Of course Adobe knows that it is illegal (never mind immoral and unethical) to compel users to agree, and it is thus careful to ensure choice.

But is it a fair one if Adobe does its level best to make it as unequal an option as it possibly can short of bringing upon itself a class action suit?

[Norman Frizzle]

Thanks to you both, Willie and Ozpeter, in the meantime I went back to 1.5, found the marquee tool to zoom in on the frequency. Results were somewhat better than I acheived a few months ago, and I suspect could be even better but for one thing:

In 1.5, after I subtract my unwanted bit within a defined frequency range, AUDITION fills in the ‘hole’ with what it believes the sound would be like without this intrusive noise. It operates analogous to the Magic Eraser tool in PHOTOSHOP which subtracts dirt and replaces it with color and texture fill based on surrounding image.

In 2.0, when I subtract it is just leaving a hole. Am I doing something wrong or is there a setting I need to achieve the desired effect?

Also, is there an option just to cut out a given percent of the bad sound and thus minimize artifacting?

[Norman Frizzle]

Actually, I neglected to say that it was IN the Spectral View that I wished to zoom in on the lowest frequency.

Some months ago you advised me on WIND ROAR removal, which is tricky. I tried it but with limited success before I encountered unacceptable artifacting, even when I did it in small amounts.

Meantime, AUDITION 2.0 has come out. I thought I would isolate the offending nise in the Spectral View, lasso it and hopefully illiminate or at least lessen my WIND ROAR.

Can’t seem to be able to blow up a view of the frequency in question however in Spectral View.