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One of the issues with using Smart Objects especially when considering the objectives of this book is that Smart Objects don t consist of actual pixels, so retouching tools can t be used on them If you try to use the Clone Stamp on a Smart Object, you ll get the message dialog box shown in Figure 723 telling you that you have to rasterize the smart object The Smart Object must be converted back to pixels losing its smart capabilities before the Clone Stamp can be used on it When the Smart Object is rasterized, all Smart Filter effects become permanent and non-editable Naturally, you could use the Clone Stamp to clone to another layer by selecting All Layers in the Sample pop-up in the Clone Stamp s tool options But you can t use the Patch tool.

Slip edit As you drag a clip left or right, its In and Out points automatically change, but the program duration remains the same. Slide edit As you drag a clip left or right, its duration is kept intact, but Premiere changes the In or Out points of the preceding or succeeding clip. As you work, you can easily preview edits, special effects, and transitions. Changing edits and effects is often a simple matter of changing in and out points. There s no hunting down the right videotape or waiting for the production to be reassembled on tape. (You do need to wait for a Preview to be created, however. Creating a preview is simple; just choose Timeline Preview. The speed of the preview depends upon how fast your computer is, and how big your hard drive is. If you have a fast external hard disk with a large capacity, you can set Premiere to use that drive to create temporary preview files. To do so, choose Edit Preferences Scratch Disks & Device Control). When all of your editing is completed, you can export the file to videotape or to a digital file format. You can export it as many times as you want, in as many different file formats as you want.

However, the problem is that what looks good (and is legible) on a television screen in general ends up way too small to be read on a small 320 240 screen. Titles at the bottom of the screen (called lower thirds) can be very hard to read if they re not done with large enough fonts. PowerPoint slides are particularly tough, because most people try to pack far too much information into a single slide, which makes it difficult for people to absorb, and the small fonts become very hard to read when reduced. To top it all off, video codecs have a tough time with text, because they don t treat it as being distinct from the video. So when your podcast is encoded, you re going to lose even more quality, as depicted in Figure 10.9. The PowerPoint slide in Figure 10.9 isn t too bad to start off with; it has only five main points on the slide. By the time the slide is reduced to 320 240, the sub-points are too hard to read, and after the encoding process, even the main points are starting to look a little ragged.

STT coded system. In an effort to create low-complexity, high-performance system, we employ the Jacobian a RBF equalizer [314] in the context of a turbo equalizer in conjunction with a convolutional coded systematic STTC (CC-SSTTC) system employing two transmitters. Specifically, we use the decision feedback assisted Jacobian RBF equalizer (Jacobian RBF DFE) [314] for the sake of attaining a reduced computational complexity, where the detected symbol isfed back to the equalizer for selecting reduced-size subset of RBF centers, which are then used a

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Note that we have two equations in the three unknown circuit parameters R, L, and C. Hence, if we select C = I ILF, then

Because of that limitation, I don t use Smart Objects/Filters much when I m working on restoration or retouching projects However, they do offer us a different way of approaching a non-destructive workflow mentality, so I want to take a closer look at them..