Tim Kurkoski
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You probably can. When you create the action, one of the steps will need to be explicitly opening your target PSD file and pasting the layer in there.
The bigger question is why do you want 1000 layers in one image? I’m not even sure if Photoshop will handle that many layers. And depending on how big your image is, you may quickly exceed the amount of memory Photoshop can handle. At the very least, 1000 layers could slow the program down. There may be a more efficient way to do what you want.
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Can you create a new text layer and type the problematic character there? Or is the problem that Photoshop doesn’t recognize that particular character in that particular font at all?
If all else fails, an alternative may be to use Illustrator. If it can display the character, you can convert it to a vector object, then copy and paste it into Photoshop. A little messy, but there are worse things. And if the character doesn’t work in Illustrator, I suspect a bad font (corrupt or badly written).
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Weird. By any chance you don’t have your timeline window sitting on a second monitor, do you? In some cases I’ve seen UI elements disappear only when on the second monitor of a dual-monitor system. Moving the window back to the primary monitor usually solves the problem.
Otherwise, have you tried trashing the AE prefs and/or reinstalling?
You can always pick the parent layer from the drop-down menu.
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The simple answer is to not edit your audio into the multicam sequence. Copy/paste the audio tracks into the main sequence (or a nested sequence, it’s up to you) and do your edits separately. Since it sounds like what you want are audio edits that don’t match the video edits, I don’t know of any intelligent way for the multicam sequence to follow what you want.
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This sounds like a Windows problem, though not specific to Win64. The short explanation is that Windows has a very archaic way of keeping track of burning devices, and too many entries in the registry on a particular key can screw it up. Encore is probably just in the position of the straw that breaks the camel’s back.
Adobe has a doc on their web site that explains how to fix it:
https://www.adobe.com/support/techdocs/328585.html -
The problem with HD and DVD is not that you can’t put HD material on a current generation DVD, it’s that the players out there wouldn’t know what to do with it.
You could, for example, put an HD WMV file on a standard DVD. There are a VERY limited number of players that will recognize that file type and output it as an HD signal (through the appropriate connections) to an HDTV. You could also put the disc in a computer and Windows Media Player could play the file, but few people use a PC connected to a TV to watch their videos. (Though that number is growing.) But that’s it. The DVD players in 99% of homes can not process HD video.
When the DVD spec was formalized in the 90’s, SD was all that was considered. Regardless of who wins the format war, Blu-Ray or HD-DVD, you still won’t be able to put one of those discs in your 3-year old Sony player and expect HD.
To my knowledge Blu-Ray burners have been available from Sony for a while. I haven’t heard of HD-DVD burners being on the market yet, but they’re probably close. But you’ll also need an authoring program that knows how to write data to the discs so a set-top player will read it. There’s one that I know of for sure (Sonic Scenerist, for which you’ll need to take out a second mortgage), though I’ve heard rumors that some of the low-end applications like Nero can do it in a simple fashion as well.
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I think I’ve got the general idea of what you’re trying to do.
54 images is a lot of work. You can create an action to automate some of the work for you (such as creating an adjustment layer to darken the image), but because each image is different, you’ll have to do a lot of the tweaking by hand. It’s going to be time consuming for so many images. You may want to ask whether or not the expectation of having it done by the weekend is realistic.
I did prattle on a bit in my last post, didn’t I? 😉
In general, I would recommend using the paint brush option. It’s really pretty simple. The mask on the adjustment layer allows you to cut out holes in the layer. Painting with black makes a hole, painting with white fills it in. So if you brush with black where the people are, you can cut a hole through to the normal brightness version of the photo.
Again, you can get away with sloppy paint strokes if you use a slightly feathered edge on the brush around the edges of the people.
I’m sure that there are actual tutorials out there that cover this sort of topic. The Internet is awash in Photoshop tutorials. I could also recommend Scott Kelby’s tips and tricks books for Photoshop- they’re easy to read, easy to follow, and show you how to do some really cool stuff. You don’t need to know how the program works, you just have to click on what he tells you to.
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When you reinstalled QT, did you make sure to enable the authoring options?
If Premiere 6.5 is also failing, it’s probably a QT issue, and not directly on Premiere’s end. You might be able to use the Adobe Media Exporter from Premiere Pro, though, as it also does QT and I think Adobe wrote a plug-in for that, rather than talking directly to QT.
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Unless the people are standing against a solid-colored background, there’s no especially easy way to do this. You have to in some way define for Photoshop what you want darkened and what the people are. Your wrists are going to be very tired.
There are a couple of different approaches I would take. All of them use an adjustment layer with a mask, but use different ways of generating the mask. Some are more accurate than others, but accuracy costs time (and aspirin for your aching wrist). And in many cases, you may not be able to notice the inaccuracies. It depends on the image and how dark you’re making the background.
So to start, choose Layer > New Adjustment Layer > Levels (or Curves or Brightness/Contrast, whatever darkening method you want to use). Click OK on the first dialog, and then in the Levels (etc.) dialog, set the picture to be as dark as you want the background to be. Don’t worry about accuracy, you can come back and adjust this later, this is why you use an adjustment layer. Click OK, then lower the opacity of the adjustment layer until you can see the people fairly well, but the whole image is still generally dark.
Next, follow the instructions below for the different methods. I prefer the first, but sometimes the others work better in different situations, and can be more accurate.
1. Brush in the mask. In the Layers palette, click on the mask icon on the adjustment layer. (The box to the right of the link icon.) Then grab the brush tool, set the color to black, and set the brush size to something reasonable. Then paint over the people. You should see them lighten up as you brush over them. Use a smaller brush with a little bit of feathering towards the edges. If you go outside the lines and reveal some of the background, you can fill in the mistakes by painting with white. Finally, turn the opacity of the adjustment layer back up to 100%.
This method is quick and dirty, but if you’re careful around the edges and use a little bit of feathering, it looks good.
2. Use the magic wand tool to select the background. This only really works if you have a solid colored background, like a blue sky. You also may have to tweak the tolerance and other tool settings. Also remember than you can hold Shift and select multiple colored areas. Once you’ve got the background selected, in the Layers palette, click on the mask icon on the adjustment layer. Then choose Select > Inverse. Then choose Edit > Fill, for the Contents choose Black, and hit OK. Then turn the opacity of the adjustment layer back up to 100%.
3. Use the Magnetic lasso to draw a selection around the people. This works well if there’s a lot of contrast between the people and background. Like the magic wand option, first create your selection, then select the mask for the adjustment layer. No need to inverse it this time, just fill it with Black. Then turn the opacity of the adjustment layer back up to 100%.
And remember that with both 2 and 3 you can do cleanup work afterwards using the brush to change the mask.