Axial shading pattern with different alpha

Hi,
I'm trying to apply different alpha values to axial shading pattern when drawing and I've found PDF Axial Shading Pattern ranging opacity very helpful.
But what kind of soft mask (PDF 1.4) should I use (dictionary or image mask)? And how could I create that mask?
I wrote some pdf code based on my limited understanding of pdf 1.4 reference and that doesn't work.
40 0 obj
<</Type /Group
/Subtype /Transparency
/ColorSpace /DeviceGray
/BitsPerComponent 8>>
stream
333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333 3333333333333333333333333333333333333333333333333333333333333
endstream
endobj
17 0 obj
<</Type /Mask
/Subtype /Alpha
/G 40 0 R
>>
endobj
18 0 obj
<</Type /ExtGState
/SMask 17 0 R
/ca 1
>>
19-26 are FunctionType 2 linear gradient
26 0 obj
<</FunctionType 3
/Domain [0 1]
/Functions [19 0 R 20 0 R 21 0 R 22 0 R 23 0 R 24 0 R 25 0 R ]
/Bounds [0.25 0.25 0.5 0.5 0.75 0.75 ]
/Encode [0 1 0 1 0 1 0 1 0 1 0 1 0 1 ]
>>
endobj
27 0 obj
<</Type /Pattern
/PatternType 2
/Shading <</ColorSpace /DeviceRGB
/Function 26 0 R
/ShadingType 2
/Coords [37.5 3347.82 187.5 3347.82]
/Extend [true true]>>
>>
/ExtGState <<
/GS0 18 0 R
>>

Thank you for your reply.
Actually what I'm doing is drawing a rectangle and filling using axial shading pattern (/GS0).
Before alpha involving, everything works fine. (removing 40, 17 and /SMask 17 0 R in 18)
PDF Axial Shading Pattern ranging opacity shows we can add a SMask in the ExtGState to achieve the alpha value and I read the PDF 1.4 reference.
My current stream is based on the generation of soft-mask Image. Is there any sample code showing how to generate the stream?
My latest try and please correct me if I made some mistakes:
17 0 obj
<<
/Type /Mask
/Subtype /Alpha
/G <<
/Type /XObject
/S /Transparency
/CS /DeviceGray
/Length 150
>>
stream
endstream
>>
endobj
18 0 obj
<<
/Type /ExtGState
/SMask 17 0 R
/ca 1
>>
Thank you and I appreciate your help.

Similar Messages

Shading pattern bug with stitching functions

I am using Acrobat Professional 7 for Windows, but I don't believe the situation has changed in Acrobat 9.
I have a simple hand-crafted pdf that is designed to test shading patterns with extend regions when used with stitching (Type 3) functions. These behave according to the spec in most cases, but there is a special case where they don't. I've included the job at the end of this message.
The special case is where a Bounds entry is identical to one of the Domain values. The spec doesn't say what should happen for this case, but I might expect either the end child function would be ignored, or that it is used but the appropriate colour would be evaluated using it and applied to the extend region.
What in fact happens, is that the extend regions have their colour derived from evaluating 0 or 1 through the end child functions. This is true regardless of whether the shading domain includes zero. But, these are used the wrong way round.
This might seem like a specialised case that would never appear in the field from real world application, but that is not the case. I have dozens of such jobs from customers displaying exactly this problem with varying workarounds by producers such as (Agfa Apogee Normalizer), (Acrobat Distiller 6.0 $Windows$), (Adobe PDF library 7.77), (Creo Normalizer JTP ver. 3.1.6), (Adobe PDF Library 8.0).
In more detail, the job has one radial shading pattern using a stitching function with 6 child functions. The first child function coincides with the function domain, as do the last two child functions. The domain of the shading is a subset of the stitching function, arranged so that the end child functions should never be evaluated.
I believe the whole of the shading should be a solid cyan because the domain is 0.3 to 0.7. Only one of the child functions covers this range which is solid cyan. Acrobat displays the inner extended region as black which can only be explained by pushing 1 through the first child function, and the outer extended region is yellow which can only be explained by pushing 0 through the final child function.
I believe Acrobat should be using the shading domain limits for the extend regions. Instead, it is using 0 and 1. But worse, the values are being used the wrong way round.
This is my hand-crafted job for testing shading patterns with Type 3 functions. The job is hand crafted, and I haven't gone to the trouble of setting the xref table or setting the stream lengths, but Acrobat does repair the file and it behaves the same as other, real-world, jobs
%PDF-1.4
%âãÏÓ
1 0 obj
<<
/Type /Catalog
/Pages 2 0 R
>>
endobj
2 0 obj
<<
/Type /Pages
/Count 1
/Kids [4 0 R ]
>>
endobj
3 0 obj
<< % Info dictionary
/Title (FunctionType 3 boundary test)
/CreationDate (D:20051118000000-00'00')
/Author (John Jefferies)
>>
endobj
4 0 obj
<< % Page 1
/Type /Page
/Parent 2 0 R
/Resources 5 0 R
/MediaBox [0 0 300 300]
/Contents [6 0 R]
>>
endobj
5 0 obj
<< % Resources Groups
/Shading <<
/Radial 7 0 R
>>
/ProcSet [/PDF]
>>
endobj
6 0 obj
<< % Page contents
/Length 1
>>
stream
q 1 0 0 1 0 0 cm /Radial sh Q
endstream
endobj
7 0 obj
<< % Radial shading covering group
/ShadingType 3
/ColorSpace /DeviceCMYK
/BBox [0 0 300 300]
/Coords [150 150 30 150 150 175]
/Function 8 0 R
/Domain [0.3 0.7]
/Extend [true true]
>>
endobj
8 0 obj
<< % Function for shadings
/FunctionType 3
/Domain [0 1]
/Range [0 1 0 1 0 1 0 1]
/Functions [9 0 R 10 0 R 11 0 R 12 0 R 13 0 R 14 0 R]
/Bounds [0 0.25 0.25 1 1]
/Encode [0 1 0 1 0 1 0 1 0 1 0 1]
>>
endobj
9 0 obj
<< % Function for shadings: Red - Black
/FunctionType 2
/Domain [0 1]
/Range [0 1 0 1 0 1 0 1]
/C0 [0 1 1 0]
/C1 [0 0 0 1]
/N 1
>>
endobj
10 0 obj
<< % Function for shadings: Green
/FunctionType 2
/Domain [0 1]
/Range [0 1 0 1 0 1 0 1]
/C0 [1 0 1 0]
/C1 [1 0 1 0]
/N 1
>>
endob

Philip, thankyou for offering to look at this.
I have attached 'FunctionType 3 boundary.pdf' which was the original file I attempted to post. The file 'AcrOut Domain 0_3-0_7.png' makes it clear what I am seeing in Acrobat. I would also like to augment my original post a little to point out incompatibilities between Acrobat and CPSI.
1. From my PoV, compatibility between Acrobat and CPSI is important, so I've also attached a file that contains equivalent PostScript. On my Ricoh Aficio with CPSI (3016.203) inside it, the job is rendered in solid cyan as I would expect given that the domain of the shading is restricted to [0.3 0.7].
2. If the jobs are changed to make the shading domain [0 1] instead of [0.3 0.7], Acrobat displays a green ring (expected), and the inner extend region is now red (expected). The outer extend region remains yellow.
CPSI renders the job almost the same as Acrobat, but the outer extend region is painted in cyan, not yellow. An Nth reading of the PDF and PS specs has revealed a subtle difference; there is one sentence in the stitching function section of the PDF spec not present in the PS spec, it is "If the last bound, Bounds(k−2) , is equal to Domain(1) , then x′ is defined to be Encode(2i)". I take this to mean the outer extends region may have different color in the PDF and PS versions by design.
3. If the pdf job is changed to make the shading domain [0.01 0.99], Acrobat displays the inner extend in black as before (unexpected), otherwise the same as 2).
To summarise:
1. There appears to be a bug in Acrobat whereby it ignores domain of the shading when painting the extend regions.
2. There is an incompatibility between Acrobat and CPSI in the outer extends region when the final Bounds entry is equal to the Domain value. This may be by design.

Using Shading Dictionary to perform shading in pdf,before that the shading dictionary call from Pattern Dictionary.In the Pattern Dictionary there is an Matrix based on the matrix value location the shading operatihow the axial shading is preserve in pdf

using Shading Dictionary to perform shading in pdf,before that the shading dictionary call from Pattern Dictionary.In the Pattern Dictionary there is an Matrix based on the matrix value location the shading operation is perform,So i dont know how to calculate value of pattern Dictionary matrix value.
10 0 obj
<< /Type /Pattern
/PatternType 2
/Shading 11 0 R
/Matrix [1.00 .00 .00 1.00 54.00 53.00] // the matrix value how to calculate
>>
11 0 obj
<<
/ColorSpace /DeviceRGB
/Function 12 0 R
/ShadingType 2
/Coords [109.2726 69.00 109.2726 .00]
/Extend [true true]
>>
12 0 obj
<<
/FunctionType 0
/Domain [.00 1.00]
/Range [.00 1.00 .00 1.00 .00 1.00]
/Size [1002]
/BitsPerSample 8
/Length 3006
>>
stream
here is an stream of colors
endstream
endobj
Can anybody help me please.
Regards, Sasi kumar sekar.

Hi, Sasi -
The Matrix maps coordinates in your shading dictionary into User Space. That is, the Matrix entry in the Pattern dictionary specifies a coordinate transformation that will be applied to coordinates specified in the shading dictionary.
To take your example, you have an axial shading extending from (rounding off) 109,69 to 109,0. Your Pattern dictionary specifies the Matrix
[ 1 0 0 1 54 53 ]
This transformation matrix corresponds to a scale of 1,1 (that is, no change in scale) and a translation of 54,53. Thus, the actual endpoints for the axial shading will be the User Space positions 163,122 and 163,53 (assuming I’ve added correctly).
As to what values to use for your Matrix, it depends on how you’ve set up your Shading dictionary. If the coordinates you’ve specified are actually where you want the gradient to go, then just use an identity matrix
[ 1 0 0 1 0 0 ]
By the way, are you sure that the Pattern dictionary includes a Matrix entry? I seem to remember (it's been a while since I've looked at Patterns) that the matrix is supplied as an argument to the makepattern operator:
<<patternDict>> [ 1 0 0 1 0 0 ] makepattern
Hope that helps.
- John Deubert
Acumen Training
PostScript and PDF
Training & Consulting

Exporting multiple video tracks as 1 file with different effects on each track.

I am currently trying to export 3 video tracks as 1 mp4.
Each track has exactly the same footage, but with different effects to achieve a certain aesthetic.
When I view the sequence it in premiere all 3 tracks are displayed correclty.
The exported version appears to only export the uppermost track, track 3.
Track 2 and 3 have opacity set to 47%.
Track 1 opacity is set to 100%.
I have tried exporting a test project that has multiple layers and there was no problem.
I have NOT tried exporting a test project with exactly the same opacities and effects, as it's a bit time consuming. I will do so if I can't get a stisafctory solution from the forums.
The problem, I believe, is down to the layering of effects. In this case on track 3 I have procamp, which is boosting the red in 1 layer. This is the image I get once the final piece is exported - track 3's.
So..
How do I get the effects of each layer to show properly in the export?
and
Why is the exported version missing tracks (or the effects of tracks) 1 and 2?

You didn't answer probably the most important question: whether you're using hardware or software Mercury Playback Engine (MPE). However, since you've set Maximum Render Quality on, it's largely irrelevant.
When you're using hardware MPE or have the MRQ flag set for your export, rendering is performed with linear color. Linear color processing affects how color channels and alpha channels are composited--anything less than 100% opacity is subject to linear color processing. Check out this article for more information on linear color/linear light: Linear Light - Artbeats
Since it sounds like you're seeing the results you expect in the Program Monitor, but not export, I'll wager you're not using hardware MPE. Only by disabling the Maximum Render Quality flag on export will you be able to get results that match what you see in the Program Monitor (within reason, of course). The only way you could see the effects of linear color within Premiere would be to either use a qualified GPU that enables hardware MPE, or go into your Sequence Settings and check the "Maximum Render Quality" option and then render previews.
Please let me know if that helps resolve the issue, or at least provide a little insight into the problem.

How to generate and output 3 TTL square waveforms with different pulse widths using counters of NI 6034E

Hello
I just have a few questions.
I am using the NI 6034E DAQ board in order to
generate simultaneouly 3 different TTL digital signals, with different
pulse width, and output these TTL signals to an external circuit that I
am using for this application.
The following pattern of the TTL pulses will look like this:
01010101 01010101
00110011 00110011
00001111 00001111
From
what I understand, I have to use the 2 counters, Ctr0 and Ctr1, to
generate the TTL pulses that I desire, because the DIO lines are
software timed only and I will not be able to produce a deterministic
output period using these DIO lines. Am I correct?    Also, do I have
to use a separate counter to generate a separate TTL digital pulse. I
need 3 different TTL pulses and there are only 2 counters for this DAQ
device. The three generated TTL signals will be feed to an external
circuit. Concerning the hardware connections for my application, I
assume that the generated TTL signals will be output from
GPCTR0_OUT(pin 2) for counter 0 and GPCTR1_OUT(pin 40) for counter 1
of the NI 6034E. Is this correct? Is there any way that these TTL
signals can be output from three DIO lines(DIO0...2).
Here is some code that I plan to use in order to do this:
#include <NIDAQmx.h>
static TaskHandle gTaskHandle = 0;
DAQmxCreateTask ("", &gTaskHandle);
DAQmxCreateCOPulseChanTime (gTaskHandle, "Dev1/ctr0", "", DAQmx_Val_Seconds, DAQmx_Val_Low, 1.0, 2.0, 2.0);
DAQmxCreateCOPulseChanTime (gTaskHandle, "Dev1/ctr1", "", DAQmx_Val_Seconds, DAQmx_Val_Low, 3.0, 4.0, 4.0);
DAQmxCreateCOPulseChanTime (gTaskHandle, "?????", "", DAQmx_Val_Seconds, DAQmx_Val_Low, 7.0, 8.0, 8.0);
DAQmxCfgImplicitTiming (gTaskHandle, DAQmx_Val_FiniteSamps, 5);
DAQmxStartTask (gTaskHandle);
DAQmxWaitUntilTaskDone(gTaskHandle)
DAQmxErrChk DAQmxStopTask(gTaskHandle)
DAQmxErrChk DAQmxClearTask(gTaskHandle)
I believe this code should generate the 3 TTL square waveforms that I want for my application.
Please provide me with some feedback. It would greatly be appreciated.
Thank You

Hi,
The NI 6034E is a multifuntion DAQ device, this means you have:
(2) counters
(8) DIO lines (software timed)
(16) AI, single ended
(0) Analog Output
You have a couple choices here:
   1. Software timed digital output of all three signals, max 1khz loop rate, non-deterministic.
   2. Hardware timed digital output of 2 signals, max 20Mhz.
   3. Hardware timed digital output of 2 signals and software timed digital output of 1 signal.
   4. Find another NI MIO board such as the NI 6251. This board will do 10Mhz pattern generation for (8) DIO lines.
For the hardware connection, you are correct, the output for the counters will be taken from pin 2 & pin 40. Here's the pinout for the NI 6034E for reference:
The output of the Counters can be routed to some of the PFI's or to the RTSI connector. You can see this in MAX
Message Edited by Matthew W on 11-19-2007 01:24 PM
Attachments:
2007-11-19_131609.jpg ‏61 KB
2007-11-19_132435.jpg ‏86 KB

How to generate a pulse train with different pulse width and delay?

How to generate a triggered pulse train with different pulse width. for example, after each trigger signal, let's say 2 ms, then the counter output a pulse with pulsewidth of 1 ms, and then after 3 ms delay after the first pulse, the second pulse was generated with a pulse width of 4 ms. Next cycle when the trigger signal comes, the same two pulses will be generated and so on. Is it possible to achieve this by using 6601 counter card? and if yes, how to achieve this? Thanks!

Unfortunately you can not create a hardware timed pulse train with different widths on each pulse from a counter. Whilst it can be changed on the fly using software, since you require a hardware triggered signal getting the software involved will not give a huge amount of accuracy when the pulse will actually change.
So in short you can't use your 6601 card (or a counter timer) to achieve this
There are three possible Alternative solutions
1 You could use a high speed digital IO device such as the (6533/34) to generate your variable signal which would require setting up the pulse train as a series of states based around the burst transmission mode where the clock would give you your specific timing.
2 A timed analogy output (for example on a MIO card with a clock (PCI-6220 / 62xx), i.e. Not the 6704 style static analogy output cards)
3 A high speed digital waveform card such as the (, 656x , 655x, 654x, 6534, 6533 (http://www.ni.com/modularinstruments/find_right.htm) ) this could then be scripted to work with your triggering and also there is a digital waveform editor which will enable you to set up the pattern you wish to generate (http://sine.ni.com/nips/cds/view/p/lang/en/nid/13555)
Hope that helps
Tim Matthews
NI (UK)

Bug in fireworks CS4 when exporting 24/32bit png with transparent alpha?

Hi there,
I recently upgraded to CS4 from CS3 and am quite disappointed to find that the png export facility for 24 or 32 bit png's is next to useless on my installation of Fireworks (Vista). I have a colleage who has reported the same behanviour on his mac.
Please see this native fireworks CS4 png file and attempt to export it as 24 or 34 bit png, ensuring the canvas is transparent (it shuold be already)...
http://www.capitalh.net/demo-bug.png
Viewing in preview mode in CS3 would show the png with its alpha channel indicated by the chequered transparent pattern. Exporting it as such would produce the desired result > a png with a nice blended alpha channel.
Viewing in preview mode in CS4 shows a horrible render of the image on a white background. Exporting the image produces the same result. Please see this link for confirmation:
http://www.capitalh.net/demo-bug-export.png
Please also see this simpler image, this time using a simple ellipse shape:
http://www.capitalh.net/demo-bug-export-simpleshape.png
You'll notice that it is not transparent, and the ellipse has not been anti-aliased.
Can anyone shed some light on this behaviour?
Exporting png's as such is something that I do daily at work, and is a basic requirement of an image editting application targetted at web design.
Am I doing something wrong? I've been using Fireworks since 2003 so I'm inclined to think that I'm not.

That's a bit, um, oh never mind. Would've been a rubbish joke anyway.
Aww...pooh. I love "rubbish" jokes!
If fireworks is unable to export a transparent png at 24bit, then why have the option?
(granted the option is acutally implied, not given)
Also, why the horrible rendering on preview and export?
Transparency for 24-bit isn't an option and isn't implied. Create a FW document with a transparent canvas. Go to File>Image Preview. If you select PNG8 as your export option, then you have drop-downs for No Transparency, Index Transparency, or Alpha Transparency. PNG32 shows the checkerboard where the document is transparent. If you select PNG24, you do not have the transparency options. Transparent areas in your document are set to white, just as they are if you select the JPEG format. Try it.
I don't know why your rendering is horrible. I'd have to see your image.
And also, why all this confusion related to Photoshop, seems Adobe really aren't helping the issue:
http://forums.adobe.com/thread/152434
Possibly Adobe thought it was less confusing, as they didn't have to go into the math. However, you do see Linda Rathgeber's answer, that the Photoshop convention is...well...misleading? (I'd call it wrong, but that's just me. ) It's just one other issue to bring into alignment as Adobe works to merge the Macromedia offerings into their line.

How do you get 32-bit float effects to work with an alpha channel?

I make a few bugs and lower thirds, but I'm having a lot of trouble getting 32-bit float effects to correctly export with transparency.
When I make semitransparent animations with bright lighting effects, they look great in AE but I can't seem to find any way to bring them over to Final Cut and get them to look like they should.
I've attached this example of a bug with a screenshot from AE on the left and from FCP on the right. The colors dim and the vibrant blue gradients get flattened into a dull greenish color.
So far as I can tell, all my alpha and color management settings are correct. I've tried endless settings options and codec options to try to fix this, to no avail.
You can create an extreme case as an example by creating a semitransparent shape, cranking the color way up to a saturated superwhite color, and moving it around with motion blur. The render looks pretty much just like a 8/16 bit render, and nothing like it did in your canvas.
I have a feeling the way AE multiplies the superwhite color values with the alpha channel gets "lost in translation" when it is rendered to 4 8-bit channels. Is there any way to get it to look the way it does in the canvas?
Thanks,
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Thanks so much for your ideas. I'd already tried experimenting with a number of color management options, including 'Preserve RGB' and turning off 'Convert to Linear Light' but they didn't fix it. I had also already tried using the "None" option from the codec menu.
I pulled it back into AE, and it looks the same as it did in FCP.
I'm starting to think the issue has something to do with AE rendering to a file differently than the way it renders to the canvas. For example, here's a fast moving 50% opaque superwhite shape in the AE canvas:
I rendered this using Animation + Alpha using Best settings and 32-bit float, and reimported it into AE:
I think the answer may lie in the fact that the first image looks solid white in some places, even though it is 50% transparent. It's almost like the excessive RGB values "bleed" over to the alpha channel. The rendered image (probably correctly) looks grey because it represents white at 50% opacity.
What I want to do though, is find a way to make my render look like my canvas. So it seems I need to do two things to the image:
1. Find a way to increase opacity in areas of excessive white, so that they are not grey in the render.
2. Find a way to "bake" the superwhite colors to a level below 100% white so that they show up in the render.
I tried the "Alpha from Max Color" effect and this seems to get kind of close, but unfortunately it discards other parts of the alpha channel (like drop shadows).
It might also be helpful to know that when I have AE output to an external NTSC monitor (via Intensity card) the monitor shows the exact same artifacts as the render.

Standby database with different directory structure

Hi,
sorry to say that we are in desupported version due to some constraint.
oracle version : 8.1.7.0.0.
os:sun 5.9
I need to create physical standby database with different directory structure:
i have created standby database with same directory structure of primary, now i have requirement to create with different directory structure.
in oracle 8i we can not give multiple parameter for db_file_name_convert(ORA-01678: parameter db_file_name_convert must be two strings, a pattern and a replacement) and i do have partitions in primary as follows:
bash-2.05$ df -h
Filesystem             size   used avail capacity Mounted on
/dev/dsk/c1t0d0s0       20G    14G   5.6G    72%    /
/proc                    0K     0K     0K     0%    /proc
mnttab                   0K     0K     0K     0%    /etc/mnttab
fd                       0K     0K     0K     0%    /dev/fd
swap                    11G    40K    11G     1%    /var/run
dmpfs                   11G     0K    11G     0%    /dev/vx/dmp
dmpfs                   11G     0K    11G     0%    /dev/vx/rdmp
swap                    11G   656K    11G     1%    /tmp
/dev/dsk/c1t0d0s3       25G    18G   6.8G    72%    /oracle
/dev/vx/dsk/suportaldg/oracle1
                        12G    11G   1.1G    91%    /oracle1
/dev/vx/dsk/suportaldg/oracle2
                        12G   8.1G   3.7G    69%    /oracle2
/dev/vx/dsk/suportaldg/orapurge
                       200G   182G    17G    92%    /orapurge
/dev/vx/dsk/suportaldg/oracle3
                        12G    10G   1.9G    85%    /oracle3
/dev/vx/dsk/suportaldg/oracle4
                        12G    12G    58M   100%    /oracle4
/dev/vx/dsk/suportaldg/oracle5
                       7.0G   5.9G   1.0G    86%    /oracle5
/dev/vx/dsk/suportaldg/oracle6
                       7.0G   6.4G   564M    93%    /oracle6
/dev/vx/dsk/suportaldg/oracle7
                        23G    23G   358M    99%    /oracle7
/dev/vx/dsk/suportaldg/oracle8
                        13G    13G   165M    99%    /oracle8
/dev/vx/dsk/suportaldg/oracle9
                        23G    22G   1.4G    94%    /oracle9
/dev/vx/dsk/suportaldg/oracle10
                        12G 10.0G   1.9G    85%    /oracle10
/dev/vx/dsk/suportaldg/oracle11
                        39G    36G   2.1G    95%    /oracle11
/dev/vx/dsk/suportaldg/oracle12
                        39G    38G   1.1G    98%    /oracle12
/dev/vx/dsk/suportaldg/oracle13
                        68G    65G   2.6G    97%    /oracle13
/dev/vx/dsk/suportaldg/oracle14
                       200G   199G   1.3G   100%    /oracle14
/dev/vx/dsk/suportaldg/oracle15
                       200G   196G   3.6G    99%    /oracle15
/dev/vx/dsk/suportaldg/oracle16
                        70G    64G   5.5G    93%    /oracle16
/dev/vx/dsk/suportaldg/oracle20
                       7.0G   6.4G   609M    92%    /oracle20
/dev/vx/dsk/suportaldg/oracle50
                        28G    26G   2.0G    93%    /oracle50
/dev/vx/dsk/suportaldg/oratranslog
                       185G   165G    19G    90%    /oratranslogso how i can create standby database with different directory structure, help is appreciated.
Thanks
Edited by: prakashdba on Mar 5, 2009 11:04 PM

Looks like very difficult and inform you mgmt about the drawbacks of running olderv ersions
may be you can try something like this but i dont know whether it is supported or not
db_file_name_convert=['/dev/vx/dsk/suportaldg/oracle3','/dev/vx/dsk/suportaldg/STDBY/oracle3']
db_file_name_convert=['/dev/vx/dsk/suportaldg/oracle4','/dev/vx/dsk/suportaldg/STDBY/oracle4']
db_file_name_convert=['/dev/vx/dsk/suportaldg/oracle5','/dev/vx/dsk/suportaldg/STDBY/oracle5']

Matching Route Patterns with standard Local Route group and Specific Route Group

Hi
I have a customer with CUCM 8.6 with few branches
couple of branches in UK and few in Europe and middle east.
I configured route patterns with Standard local route group, but using their own Voice gateway, everything was working fine until adding the recent branch with matching pattern
UK has a mobile pattern with 9.07XXXXXXXXX (11 digits)
One Branch has a mobile with 9.07XXXXXXXX (10 digits)
When branch call 907X..(10digit) number there was a delay and I ticked the Urgent priority to process it quicker, but later realized the UK branch cannot dial 907x.. (11Digit) mobile.
I created Route List for branch and added the 10 digit pattern to that but still the UK cannot call 11 digit. so i believe when you call out it will check the pattern first and the Route-List and Route-Group and gateway play a part.
Is there a way to get 07 -10digit call out quickly also allowing the 07 -11digit pattern as well ( without changing the T302 timer)
Really appreciate your support
thanks
shameer

Yes, they key to managing overlapping centralized dial plans is to be really good with patterns, partitions, and CSSs. You can have 3 different 9.0[2-9]XX-[2-9]XX-XXXX patterns and assign them a different partition, and then assign that to the branch CSS. This will only work if each Branch has a different CSS.
For example:
9.0[2-9]XX-[2-9]XX-XXXX @ Egypt-PT ->Routes to Local route group of Egypt.
9.0[2-9]XX-[2-9]XX-XXX @ UK-PT -> Routes to Local route group of UK
9.0[2-9]XX-[2-9]XX-XXX @ Germany-PT -> Routes to Local Route group of Germany.
//PT = partition//
Then have Egypt-CSS that contains 9.0[2-9]XX-[2-9]XX-XXXX @ Egypt-PT.
UK-CSS contains 9.0[2-9]XX-[2-9]XX-XXX @ UK-PT
Germany- CSS contains 9.0[2-9]XX-[2-9]XX-XXX @ UK-PT
The other patterns will be invisible to your sites because they are in a different partition that is not in their CSS. 2 overlapping patterns in the same PT will cause you to wait for the inter-digit timeout unless you press #.
Thanks,
Frank

Problems with Photoshop Alpha Channels

Hi all
Got a job where I want to use alpha channels to cut-out some images in Photoshop and then put them into an ID frame with a black background. Want to use alpha channels rather than a clipping path as I need the edges to be feathered (have applied 2 pixels of feathering to the selection in Photoshop before saving it).
When I do this and drop it into Quark it looks good but when these images are dropped into ID and then the alpha channel is turned on, with the default Threshold and Tolerance settings, it doesn't look good. It looks like a rough approximation of my alpha channel, all the fiddly bits and bezier curves in the selection have been smoothed out and the feathering has gone. Playing with the settings doesn't really seems to help either. If I turn on the alpha channel in the import options when importing then it comes in as expected but I have quite a few images already in the document that I need to turn on the alpha channels for.
Both PS and ID are CS3. I've tried saving the images both as PSD and tif. Anyone got any ideas? Seems odd that when I import an image with the channel on I can't go to the clipping options and tweak the settings.
thanks,
Iain

Thanks for your reply Bob. I've confused things with my terminology I think. We're drawing a path round the image, using bezier curves where appropriate, making that work path a selection (feathering the edge in the process) and then saving the selection (as an alpha channel) and then using the feathered alpha channel in Quark/ID to knock-out the background. Not keen on using a PSD with a transparent background at the moment as these are just test files while we show the customer what it will look like if we do cut-outs. We are making a couple of different alpha channels per image, with different settings, which would mean multiple files if we used your method I think. Maybe once we get the approval from the customer we could use PSDs as you describe but I was just wondering why the options for affecting alpha channels after importing the image aren't working as I expected.
Iain

How the axial shading is preserve in pdf

@@using Shading Dictionary to perform shading in pdf,before that the shading dictionary call from Pattern Dictionary.In the Pattern Dictionary there is an Matrix based on the matrix value location the shading operation is perform,So i dont know how to calculate value of pattern Dictionary matrix value.
10 0 obj
<< /Type /Pattern
/PatternType 2
/Shading 11 0 R
/Matrix [1.00 .00 .00 1.00 54.00 53.00] // the matrix value how to calculate
>>
11 0 obj
<<
/ColorSpace /DeviceRGB
/Function 12 0 R
/ShadingType 2
/Coords [109.2726 69.00 109.2726 .00]
/Extend [true true]
>>
12 0 obj
<<
/FunctionType 0
/Domain [.00 1.00]
/Range [.00 1.00 .00 1.00 .00 1.00]
/Size [1002]
/BitsPerSample 8
/Length 3006
>>
stream
here is an stream of colors
endstream
endobj
Can anybody help me please.
Regards, Sasi kumar sekar.

Hi, Sasi -
The Matrix maps coordinates in your shading dictionary into User Space. That is, the Matrix entry in the Pattern dictionary specifies a coordinate transformation that will be applied to coordinates specified in the shading dictionary.
To take your example, you have an axial shading extending from (rounding off) 109,69 to 109,0. Your Pattern dictionary specifies the Matrix
[ 1 0 0 1 54 53 ]
This transformation matrix corresponds to a scale of 1,1 (that is, no change in scale) and a translation of 54,53. Thus, the actual endpoints for the axial shading will be the User Space positions 163,122 and 163,53 (assuming I’ve added correctly).
As to what values to use for your Matrix, it depends on how you’ve set up your Shading dictionary. If the coordinates you’ve specified are actually where you want the gradient to go, then just use an identity matrix
[ 1 0 0 1 0 0 ]
By the way, are you sure that the Pattern dictionary includes a Matrix entry? I seem to remember (it's been a while since I've looked at Patterns) that the matrix is supplied as an argument to the makepattern operator:
<<patternDict>> [ 1 0 0 1 0 0 ] makepattern
Hope that helps.
- John Deubert
Acumen Training
PostScript and PDF
Training & Consulting

Pattern with relief

Hello, how these patterns with relief are?
I refer to the texture of relief.
Thank you

There are a myriad of ways to do that in photoshop: (here are three)
1. Filter>Texturizer and load a texture in the dialog
2. Layer Styles> Bevel and Emboss>Texture
3. Load a texture into an alpha channel and use Filter>Render Lighting Effects and choose the alpha channel as your texture channel

Hi, i am trying to open and view a report that comes from another server with different odbc connection

hi, i am trying to open and view a report that comes from another server with different odbc connection
i created a crystal report for a mysql database on my machine and everything works great
but we have other reports that come from other machines with different odbc connection
and this its not working when opens the report asks for credentials
and i cannot use the remote ip for these reports that come from other machine
question
if i cannot connect to remote ip to open the report
for each report i have to create a database the report database on my machine and then open the report ?
or there is some other way to open the report ?
i am using visual studio 2013 and mysql and
<add key="MYSQLODBCDRIVER" value="{MySQL ODBC 5.3 UNICODE Driver}"/>
thanks

short
i have a report that it was created on another server with a specific dsn
now i am trying to open the report on my machine
the database from the other server does not exist on my machine
the server machine where the report was created the ip its not accessible
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can i open the report on my machine or its impossible ?
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How can I transfer contacts from one iPad to a new iPad with different iCloud addresses?

how can I transfer contacts from one iPad to a new iPad with different iCloud addresses?

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Axial shading pattern with different alpha

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