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OsakaWebbie
Engaged
OsakaWebbie
Engaged
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‎Aug 02, 2019
08:15 PM
1 Upvote
Stephen_A_Marsh wrote Great job Karen! I couldn't have done it without you and S_Gans. You approached it from the high-level pro direction, she from the more basic direction and working upwards from there, and that combination was helpful for me to get a handle on what to do for the compromise I had in mind between quality and efficiency. I don't know what to mark as the "correct answer" (it doesn't feel right to mark my own), but thanks to both of you!
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‎Aug 02, 2019
08:06 PM
Yes, I had run across SRDx in my searches before posting here. (It would just be the PS plugin version in my case, because (a) I'm scanning prints, not negatives, and (b) SilverFast doesn't appear to support either of my two scanners, perhaps because they were bought in Japan, where I live, or perhaps because they are cheap.) But user reviews are very sparse (in fact, this and this are the only reasonably thorough reviews I found, and neither are in the last year), the Windows version doesn't include masking, and I don't know if my PC even has the right graphics card to support it. I might try the 30-day trial, but I need to do that when I have time to scan a number of photos and really exercise the plugin. The design phase for a quarterly magazine I design is starting to heat up, so now is not a good time for new projects.
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‎Aug 02, 2019
07:25 PM
1 Upvote
Wow, Fourier transforms! I learned those when studying electrical engineering in college in the 80's, but I haven't thought about them since. (I never did analog design professionally, preferring digital systems engineering and software development, so I didn't need FT.) And that long article about the High Pass filter is indeed illuminating - thanks for that also. Along this journey, some of the tutorials I found have also been helpful for my general knowledge of Photoshop. I think my favorite was this video carefully explaining each of the 27 blending modes: The Science of All 27 Blend Modes in Photoshop! - YouTube I previously had either randomly tried different blending modes whose names sounded like what I was trying to do, or just avoided them altogether.
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‎Aug 02, 2019
08:28 AM
Okay, thanks for the reassurance. I would not be rescaling at all - the page size change would only move where the edge is, using the bleed as part of the actual page on the inside edges (we learned that the booklet will be perfect-bound instead of saddle-stitch).
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‎Aug 02, 2019
06:52 AM
3 Upvotes
I decided to try to manually do the parts of Stephen's action that I understand, and I might be getting somewhere. Here is what I did, starting from scratch, combining ideas from Stephen and S_Gans: I duplicated the background layer twice - once for the layer that will have Dust & Scratches applied with a layer mask, and the second copy as the sandbox to make the selection for the mask. On the sandbox layer, I ran Filter -> Other -> High Pass, selecting a radius that only barely showed a hint of the runners (that turned out to be 1.0 pixels). Then I ran Image -> Adjustments -> Levels. I slid the black input level marker to the right until there was no hint of the runners but plenty of dust (just at the right edge of the spike in the histogram), and then slid the white marker to the left until it almost touched the left one, so that the image is basically binary. I was surprised to see some dots in colors other than white, so at this point I ran Image -> Adjustments -> Black & White to solve that, selecting Maximum White so I get all the dots. Then I created a selection from that by running Select -> Color Range. All I had to do was click on any white spot, and all were selected. (Magic Wand might have worked just as well.) Then I did Select -> Modify -> Expand by 1px to make some breathing room for the D&S filter. In the layer pane I clicked the other duplicate layer and added a layer mask. I was pleasantly surprised that it automatically populated the mask with my selection (that's what I was about to do next!). Finally, I clicked the image part of the layer and applied Filter -> Noise -> Dust & Scratches, and set the radius at a level that would make all the dust bits disappear, which in this case happened to be 5px. (In this sample all the dust bits were small, so that worked, but I wouldn't go any bigger than that - if a few big blemishes remained, I'd do those manually with Spot Healing Brush, because otherwise they would be too much of an ugly blur.) Here are the original, the final, and the layer mask: I know that Stephen's was much more sophisticated, with the noise to prevent obviously blurry spots, more nuanced white areas on the mask, etc. But this might be good enough for me, depending on the content of the photos I scan in later. Here is an action of this, with stops on the places where adjustments or manual input (e.g. click on a white dot) would be needed: Dropbox - Karen dust removal.atn - Simplify your life
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‎Aug 02, 2019
05:11 AM
If I receive a high quality PDF (intended for print) from someone else, place each page in an InDesign document in order to make minor changes like page size and printer marks, and then export as PDF again, will the quality stay the same, or will there be quality degradation?
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‎Aug 02, 2019
01:02 AM
1 Upvote
I understand the process you are describing. The problem is that color alone will not distinguish the dust. In just that small sample that we have all been using to test, very few of the dust specks are lighter than the runners. Try your method, and I think you'll find that if you keep the setting low enough to avoid the runners, you won't have much dust in your selection - perhaps half a dozen of the brightest spots. What's distinctive about the dust is the sharpness of the edges - apparently that's called high frequency (although I previously only knew that term for waves like audio, light, and electromagnetism). Like I said, partway through the steps in Stephen's action it looks like I have something usable, based on High Pass, Levels, and Maximum (plus some magic about Apply Image and different layer modes or something), but then it slips through my fingers.
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‎Aug 01, 2019
06:59 PM
S_Gans wrote One way to apply that would be to use the Select>Color Range option - then when focused on that layer mask for the Dust/Scratch layer, just fill the selections with white (in fact, I'd modify my selection by 1px, if necessary, prior to the fill). That may allow you to select based on the contrasts of the white, and still use only the tiniest necessary amount of the Dust/Scratches filter. "that layer mask"... As you can see from my previous post, I'm still stuck getting that far - I haven't yet been able to produce a mask anything like the one Stephen posted (picking up the dust but not the lighter parts of the content like the runners). I assume your idea here is for making gray specks in the mask more white, and that's great... once I get that far.
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‎Aug 01, 2019
06:37 PM
Stephen_A_Marsh wrote Try this one, if you play it back step by step rather than accelerated, you should see what is going on. Haha, you give me too much credit! I played it step by step (which is merely slow - it doesn't actually stop), turned on stops for all steps where that was permitted, and tried a number of adjustments, but I never got the mask to be anything close to what you posted in your earlier reply. The white areas are always too few and/or too gray (not opaque white). At the point of the Levels step (one of the few tools I already understood) and the Maximum, I'm happy with what I'm seeing, but that doesn't end up in the resulting layer mask, and I can't figure out what step is causing the white areas to fade. So I decided to "go to school" - I had never even heard of most of the things done in the various steps, so over the last day I read copious documentation and watched many tutorial videos. I'm starting to get the idea of frequency separations, and I imagine that High Pass is the key to using the sharper edges of the dust to detect them and include them in the mask. And Maximum is making sense. But it's really confusing what effect is being applied to what within the layers the Action is building, and Apply Image remains an enigma even after several good tutorials. Since I like what I see after Maximum, I tried turning off all the steps after that, to see if I could just manually grab that and make it a layer mask, but the result is that my image layer is highlighted in red in the Layers panel (whatever that means) and when I click on the layer, the B&W image of the dust disappears and my original image is all that's left. I'm clearly clueless! What settings did you use to get the mask with strong white areas like what you posted? [In case anyone is wondering, my main Adobe tools are InDesign and Premiere Pro, especially InDesign. Photoshop is normally just ancillary, so my knowledge is shallow.]
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‎Aug 01, 2019
05:18 AM
1 Upvote
Wow, Stephen - how did you manage to get that mask? That's superb! That would probably work well as the layer mask for S_Gans' method. I installed the action you linked, but I don't know how to use it. (This stuff is out of my league.) I ran the one called "Conditional Run", and after warning me that it wouldn't work on CMYK (why, I don't know - this is just a JPG) and asking me set the radius for Gaussian Blur (I chose 3px), it created a group of two new layers: HF Data and LF Data. Now what? You said to "apply image the layer to itself" - sorry, but I don't know what that means, and I don't really even understand what those layers are doing (the steps they do are very complex), let alone how I use them to get the mask you showed. Please bear with me.
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‎Jul 31, 2019
06:49 PM
1 Upvote
S_Gans: Your layer mask technique would be a little better, a compromise between poking the Spot Healing Brush at every spot and having the whole thing blurred. But I'm still hoping for something that will attempt to "detect" the spots by the fact that they are sharper contrast than the real content.
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‎Jul 31, 2019
06:35 PM
(answering Bob_Hallam) I have never used any of the functions/tools you described, so bear with my ignorance. ...Median Filter... I assume that's Filter -> Noise -> Median, right? Then add noise to match the image. I assume you mean Filter -> Noise -> Add Noise, but I don't understand what "match the image" means for the settings. The default settings are Amount=12.5%, Distribution=Uniform, Monochromatic=off. At this point it looks awful, something like cheap-digital-camera-in-low-light on steroids, but as part of the brushed action later, it doesn't do that. I don't know what role it plays in the dust removal or how to set its settings. ...set the tool to history Brush. Is that the Art History Brush or something else? Okay, my action contains: (1) Median, (2) Add Noise, (3) Set History Brush Source, (4) Select history state -2, (5) Select art history brush. The first two have the little box next to them that I think means a "stop". This gives you the ability to brush in from History the dust removal. When I play it, it opens the dialog of Median and then Add Noise, and after clicking OK to each, I can see that I'm primed and ready to brush in. But anywhere I click is blurred massively (well beyond the size of the brush and much blurrier that what the Median filter looked like on its own) - it's like dripping water on a watercolor painting. So I have to make the brush very small and apply it to each dust spot - that's not an improvement over using the Spot Healing Brush. What clue am I missing?
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‎Jul 31, 2019
05:36 PM
(in response to Barbara Ash's comments) Photoshop has the Filter > Noise > Dust and Scratches filter. I already said that I know about that and don't like it, at least when applying it to the whole photo. If the dust specks are a unique color, you could select one and choose the Select > Similar command. That's the same as doubling the Tolerance setting of the Magic Wand. Either one is indiscriminate - it doesn't have any regard for the sharpness, but only color, so it either selects lots of lighter areas of actual photo content (like the runners in my sample above, or even the runners, road, and field)) or misses most of the dust. And even if I deselect areas I want to keep and get the selection just the way I want, then what? I don't know of a way to apply the Spot Healing Tool to a selection instead of clicking manually. Just now I experimented on just the sample I showed above - the best I could do was: Click the Magic Wand tool on the whitest pixel with a Tolerance of 50. That selected about half the dust spots, the road of runners, and the field. Use the Lasso tool to deselect the road and field. Of course then any dust in those areas is not selected. Select -> Modify -> Expand with a setting of 1-2 pixels. If I don't do this, the next step leaves a halo around every dust spot. Filter -> Noise -> Dust & Scratches with a generous Radius (I did 10 pixels). This method would only remove the lightest dust, and only in dark areas of the photo, because I would have to manually deselect the light areas. And that was only with this limited sample - any photo that has a lot of small areas of light-colored content would require lots of deselecting. (Next I'll try to figure out Bob_Hallam's suggested procedure, most of which I don't yet understand.)
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‎Jul 31, 2019
09:31 AM
2 Upvotes
I have trouble with dust getting into the scanning process of printed photos. I know, I know - work harder on avoiding the dust in the first place. I will, but I will never eliminate it, and I'm getting ready to scan a LOT of photos. The content-aware Spot Healing Brush does a magical job, but it's laborious to click on all the spots one by one. While doing that on a a particularly dusty scan of an old 8x10 aerial photo of a marathon (see small snippet below), I decided to look for something more automatic. Because it was scanned at 1200dpi, the image content had no sharp color changes, making the dust distinctive by sharpness. I tried the Dust & Scratches filter, but even at a setting of only 2 or 3 pixels, I was not happy with the effect on the image content, and a setting of 1px didn't catch enough of the dust. So my engineering brain started imagining how the various smarts of Photoshop could theoretically be combined to automate it, and I thought I'd ask if something like this is possible. Given a scan at a high resolution like my sample below, so that the dust is much sharper than any content, I imagine a tool doing something like this: Select all areas of white (or nearly white - perhaps a threshold like the Magic Wand tool has) that have edges sharper than some threshold (e.g. a luminosity change of at least 50 within 2px). Apply the same technology as the Spot Healing Brush (content-aware) to each of those selected areas. Naturally that wouldn't catch everything - there are occasionally defects that are dark instead of light (dust in the camera instead of the scanner) or particles that are translucent, but the ugliest ones are the bright white ones, and I would happily do additional touches manually if a tool could eliminate the specks like this. Does anything like this exist in Photoshop, or can I kluge a macro from existing tools? I'm also open to suggestions of third-party tools (PS plugins or standalone tools for Windows) if free or not too expensive.
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‎Jul 09, 2019
09:20 AM
Hmm, your question got me to take a closer look. My InDesign is current (14.0.2), but just now I noticed that it did not leave any new temp folders when I used it today. However, over the weekend I used Premiere Pro, and I'm still using the CC2017 version of that app, because CC2018 had a memory leak that made it completely unusable for me, and I'm waiting to try CC2019 until I finish a series of monthly teachings that are all in one file (it will finish three weeks from now - I don't want to risk rocking the boat). I think it might be leaving the recent temp folders in my case. So perhaps CC2019 does fix this issue. Sorry to have not done more careful research before posting.
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‎Jul 09, 2019
01:33 AM
It's 2019, and this bug is still not fixed. It's not just a Photoshop issue - I only use PS occasionally, but I use InDesign constantly, so at least some/most of my Tempzxpsign... folders must be from ID. Perhaps there is a common piece of code called by all CC apps that has this typo in it.
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‎Jun 18, 2019
12:40 AM
1 Upvote
I finally got around to upgrading, and I can confirm that CC2019 fixes this bug. (Windows is still on 1803, so that's irrelevent, as I suspected.) CC2019 also solves another annoyance that I had off-and-on considered complaining about - InDesign previously was the only Adobe software I use regularly that would always open on my laptop monitor instead of my external ultra-wide monitor I use it on. But CC2019 opens on the same monitor, location, and size as when it was last closed, just like it should.
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‎May 20, 2019
01:21 AM
Thanks for the additional clarification. In my case that's not a problem. First of all, a swatch is simple to verify or compare - there are only four "settings" (CMYK) instead of who-knows-how-many for a style. (Okay, there's a little more if it's a gradient swatch, but you see my point.) Secondly, we create new swatches for specific articles (and name them after the article author, so there won't be conflict), but we never mess with our magazine's standard palette.
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‎May 19, 2019
06:47 PM
Wow, thank you! I had no idea that a style in a group is considered different than the same-named style outside a group (or in a different group). I assumed that styles were required to be uniquely named throughout the document and groups were just for visual organization. But I guess groups are more like folders in a filing system, allowing files of the same name in different ones. I tested your idea and it works beautifully. Now I'm free to improve the main styles without worrying about it affecting imported content. My test did not include any articles whose text had done the mysteriously different line wrapping (I don't remember which articles had that problem in the last issue), but the more I think about it, the more I suspect that problem is not related to styles - perhaps something about the fonts on the two computers. Now that I know how to isolate the styles, I'll do that each time, and if the wrapping problem happens again, I'll write a fresh question.
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‎May 17, 2019
08:58 PM
Is there a way to copy/merge whole pages of content from one document to another and prevent any changes due to differing definitions of commonly named styles? In my imagined perfect world, I'd like any differences to become overrides on the pasted/merged content. Even lowly MS Office offers that as an option when pasting - see this little labeled screenshot from a Microsoft tips page. (Usually I hate Office, but in this instance they're onto something.) I'm not sure exactly what "Merge Formatting" does, but I think something similar to "Keep Source Formatting" is what I'm after. As far as I know, InDesign seems to only do "Use Destination Style", but I'm hoping there is a trick I don't know. Context and details: Another designer and I work on a magazine. I'm responsible for the "master" document, merging in the articles he lays out. At the beginning of every issue's design cycle, I prepare the master document and then save a template from it for him to use for his articles. Then I work on my stuff directly in the master (because I do most of the design anyway), and later merge his stuff in. I used to use the Pages-Drag-n-Drop method of merging (see Method 5 on this page), but the layout of his articles almost always changed somewhat during the merge, for reasons I never figured out. So lately I have been just copying all the content of each spread (Method 1). [Fortunately most of the articles are a single spread, so that doesn't break text flows.] That has been working better, but it's not foolproof - still sometimes something changes slightly (most typically, some text will wrap a little differently, which can sometimes throw off the length of a column), even though both of us swear that we didn't edit any styles. We use different OSes (he's on Mac, me on Win10), but that shouldn't matter. All our fonts are TypeKit except Adobe Garamond Pro. (Hmm, could that one font be different between OSes? It's our main article text font, so it's use is very pervasive.) And even if that worked correctly, it's restricting. Sometimes while I'm working I'll notice something about a style that should be improved, but I don't dare edit the style while we are working in parallel. I have to just put up with it for the time being, and make notes for myself to hopefully remember to make the modification between magazine issues. So if there is a way to copy content (or merge pages - I don't care what technique) and have the imported content not change because of differences in style definitions (or whatever ghosts seem to still haunt us even when we're careful), that would be a great help to my workflow. But I don't want to use PDF as an intermediary or "place" his document - I want to end up with a single editable InDesign document for the whole magazine. As I said, my imagined mechanism would be for the imported content to adopt overrides for any differences in a common style. But renaming a differing incoming "My Style" style to "My Style-1" or something (preferably based on "My Style" so I can see the differences) would also work. Can InDesign do anything like this?
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‎May 10, 2019
08:17 PM
It was a little scary to do this, particularly since I didn't get around to it until after I got the following email from Adobe this morning: We have recently discontinued certain older versions of Creative Cloud applications and as a result, under the terms of our agreement, you are no longer licensed to use them. Our records show that you may be using the following version(s) of these applications. MEDIA ENCODER:11.1 , PHOTOSHOP:16.1,18.0 , PREMIERE PRO:11.1 Please be aware that should you continue to use the discontinued version(s), you may be at risk of potential claims of infringement by third parties. (I don't know why it lists two versions of Photoshop, as I only had one, but no matter. I upgraded that first before attempting PPro.) Once I lose CC2017 for whatever reason, I'll never be able to get it back again. But I did pluck up the courage to install PPro CC2019 (13.1.2), and it appears to have solved the memory leak problem. The media file I used as my test took forrrrrever to conform the audio (perhaps a half hour or so for a 53-minute video), but PPro's memory usage did not rise while conforming - in fact, it gradually reduced a little bit, and nothing crashed. I haven't tested ANR yet, but I'll do that later when I get time and an appropriately noisy recording.
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‎May 10, 2019
08:02 PM
I finally got the courage to try installing CC2019 to see if the memory leak has been fixed. (Even though I unchecked the box "Remove old versions", it's still a little scary.) It took forrrrrever to conform (perhaps a half hour or so for a 53-minute video), but PPro's memory usage did not rise while conforming - in fact, it gradually reduced a little bit! And nothing crashed. So it appears that the "ppro-using-the-windows-codec" memory leak has been fixed in CC2019.
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‎Apr 29, 2019
04:33 AM
I think you're missing the point. No, I have not, and I don't want to if the memory leak problem still exists. That's why I'm asking the community first. My installation of 2017 is stable and working (except for the ANR annoyance), so I don't want to disturb it until I hear that the situation has improved. The last comment on the discussion about the memory leak was January this year: Re: Dolby codec issue on Windows 10 That person didn't specifically say what version he had tried, but he was in communication with Adobe so presumably he had the latest at that time, until he too was forced to downgrade to 2017 and hunt for a copy of the old Dolby codec.
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‎Apr 28, 2019
10:15 PM
I have resisted upgrading PP since having to downgrade from CC2018 back to CC2017 (and scramble around for an old codec), due to a massive memory leak in CC2018 when conforming Dolby audio using the OS's codec. See the story here: Dolby codec issue on Windows 10 But I know I'm missing out on improvements in other areas. One annoying issue is with Adaptive Noise Reduction: Premiere CC 2017 Adaptive Noise Reduction Delay Issue Can anyone out there tell me whether either/both of these problems are fixed in CC2019? I tried looking through the release notes, but didn't spot anything relevant. Lately I have been shooting with PCM audio, but I can't guarantee I'll never use Dolby audio, so I don't want to take the chance of abandoning CC2017 until I'm sure the memory leak has been fixed. But always having to do a workaround to help ANR get an initial noise print is getting tiresome.
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‎Apr 01, 2019
07:01 AM
Haha, I'm already old... but I'm not dead yet! I wasn't suggested that CC2018 be fixed. But no one has said that CC2019 fixes this problem. Does it? Naturally I will upgrade at some point, but I don't tend to be in a hurry to upgrade any software if I'm not aware of something new that I need. I rarely utilize the latest features, sometimes things change enough to require a learning curve (e.g. I still struggle with the MS Office "ribbon" - I can't find things I know exist, and having to use Office in Japanese makes it harder), and I've been burned by irreversible upgrades that wouldn't work (even in Adobe CC, where I can theoretically reinstall anything - seeDolby codec issue on Windows 10).
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‎Apr 01, 2019
05:30 AM
Interesting! I pin very little to my taskbar because of limited space, but that trick worked for the start tile in a roundabout way. In fact, I discovered by later experimentation that you don't need to put the application on the taskbar first (or even have it open). For others who might want to know: From Explorer, drag the document file onto the open area of the taskbar. If you drag to any of the taskbar icons, it won't work - it will just show a ⃠icon. But if you drag it to an empty area of the taskbar, a tooltip will say, "Pin to [whatever's the default application for that file type]", and when you let go, it will do exactly that. If an icon does not already exist on the taskbar for the application, one will be created. The file will not only now appear in the "Pinned" list on the taskbar icon for the application, but if you have a start tile for the application like I do, the file will automagically appear in its "Pinned" list also. At this point you can remove the taskbar's application shortcut if you don't want it. The document file will stay pinned to the start tile for the application. Apparently no one knows anything about my original problem of recently opened documents not appearing in "Recent" on the application icon. (As I said before, CC2017 seems to work fine, but CC2018 doesn't.) But this workaround helps me while I wait for it to get solved.
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‎Mar 31, 2019
11:10 PM
Anything more on this? Here's a screenshot showing my current list of irrelevant files (the "Sponsor Cards" one is an INDD file I opened once just to look at something; the rest are placed or exported files related to the magazine document I want to pin), showing what I meant by pinning a document to the jump list. If the document I want to pin never appears in "Recent" due to this mysterious bug, is there a different way to pin it?
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‎Mar 21, 2019
07:11 AM
That pins InDesign itself (as an application) to the taskbar, not a document. I already have InDesign as a tile on the start menu - that's not the problem. I want a particular document to be quickly accessible.
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‎Mar 21, 2019
05:29 AM
How do I do that?
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‎Mar 21, 2019
03:52 AM
It seems like it's getting worse. I was previously able to mitigate it by pinning current projects to the "jump list" for the InDesign tile, but as far as I know I can only pin something when it appears in the Recent list. The INDD file for the current issue of the magazine I design, which I have been opening and closing repeatedly for the last month, has never shown up in the list at all. I tried deliberately opening it from File Explorer (well, technically Directory Opus, but it interfaces with Windows the same way as far as I know), deliberately opening it from inside InDesign, saving before closing, just closing immediately, and various other combinations. The only files that show up in Recent are placed images and exported PDFs - here is a screenshot after I had opened and closed several InDesign documents entitled "JH [something].indd", which you can see are not showing at all: If you know of a way to pin a document to the InDesign jump list without seeing it in Recent and clicking the pushpin icon, I'm all ears. And of course I'd also like to actually solve the underlying problem of the Recent list.
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