Differences of Rosetta in 10.5 versus 10.6?

Hello,
AppleWorks is a PowerPC-based application, that runs under 10.5 very well. The update to 10.6 lets for example AppleWorks work incorrectly. Perhaps Rosetta has changed?
In Apple-Works: When grouping an overlapping text-frame an a rectangle (draw-object), and pasting it as inline-text into a texdocument, you are not able to edit the inline-text with Apple-Control left click. When the text-frame and the rectangle are not overlapping, you can edit them, also as inline pasted objects.
The posibility of editing inline textframes is important for me.
Did you make also such experiences with rosetta (10.6) to the same or other PPC-programs?
Achim

Bunch of info here....
http://arstechnica.com/apple/reviews/2009/08/mac-os-x-10-6.ars

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CPU/speed differences between Compressor settings - H.264 versus Mpeg-2

After setting up my 2.26 8-core Mac Pro for distributed processing for Compressor, I was able to get nice speeds using mpeg-2, but the h.264 codec seems to throttle back the speed of the compression.
For mpeg-2, Activity Monitor shows around 55% of the CPU being used for the process overall. For h.264, it shows around 15% CPU use, which is around the amount that would be used without distributed processing. I am using 8 instances in the qmaster setup.
Any ideas? I've tried some other settings and the mpeg ones (mpeg-1, mpeg-4) seem to take advantage of the speed while others (h.264, Uncompressed 8-bit) don't.

This sounds like its I/O bound. Open Activity Monitor, and check data read/sec and data written/sec in the Disk Activity tab. If the number is over like 100MB/sec, that could be whats holding you back, depending on the speed of your disk. If you are using a network volume, check the network tab. 1 instance seems to be good for 2 physical cores when doing H.264. 8 instances should max you out, unless your source is something like Uncompressed 10 bit and the reads are bottlenecking processing. In essence you have 8 instances trying to read data as fast as it can, which means no process reads it fast. So the instances are waiting around for data.

What's the difference with save as illustrator pdf vs ai?

What is the big difference between saving as an .ai versus saving as a .pdf. I like the flexibility of saving as a .pdf so that people w/o illustrator can view my comps. I know if I save as a .pdf (versus printing or exporting), I can reopen the .pdf and still have all my editing capabilities there (that i know of). Can someone enlighten me?

> What is the big difference between saving as an .ai versus saving as a .pdf.
That depends on whether you leave the default settings on. If you do, you are really saving two full and distinct copies of the entire content in one file, and the "difference" between the two files is mostly marketing-inspired hype. But if you turn off the default setting to include BOTH versions of the file, then the difference is real. AI and PDF content is not the same thing.
The two default options I refer to are:
Create PDF Compatible File (when saving as AI)
Preserve Illustrator Editing Capabilities (when saving as PDF)
> I like the flexibility of saving as a .pdf so that people w/o illustrator can view my comps.
That's fine. But you are really saving two complete versions of the file's content, and the PDF you are sending to your non-Illustrator recipients is much larger than necessary. That's because the PDF, by Illustrator's default, also contains another complete copy of the file in Illustrator format, which is ignored by Reader.
> I know if I save as a .pdf (versus printing or exporting), I can reopen the .pdf and still have all my editing capabilities there (that i know of).
That's fine, too. But again, that's only because you are, as stated above, saving a PDF that also contains a complete second copy of the content as Illustrator-native objects. When you open that PDF in Illustrator, Illustrator loads the native-ai content, not the PDF content.
> Can someone enlighten me?
Despite confusing marketing hype to the contrary, PDF and Illustrator formats are not the same thing.
PDF is basically like capturing the artwork halfway on its path to a PostScript printer. Illustrator-specific constructs like live blends, multiple fills, multiple strokes, (and much more), are dumbed-down to simpler discrete objects.
But a PDF file can contain a "cordoned off" area that can contain just about any kind of data a programmer wants to insert there, but which is altogether ignored by Reader. Think of it like inserting a comment statement in a code file. That extra data, of course, makes the file larger.
Similarly, Adobe changed Illustrator's format a while back to also include a "cordoned off" area that can contain PDF data. Again, that extra data makes the file larger.
When you save as PDF in Illustrator, you are saving the content of the file as "dumbed down" PDF content that can be understood by Reader. But when doing so, if you also leave the default "Preserve Illustrator Editing Capabilities" checkbox on, you are also including a full copy of the file in Illustrator's native format in that "marked off" area inside the PDF. So if a recipient using Reader opens the PDF, Reader loads the PDF content and ignores the "marked off" content. If you open the PDF in Illustrator, Illustrator checks to see if you also stashed away AI-native content in that "marked off" area. If it finds that you did, it opens that version of the content, not the PDF version.
Inversely, when you save as AI, you are saving the content of the file as the fully editable Illustrator-specific constructs. But when doing so, if you also leave the "Create PDF Compatible File" checkbox on, then you will also be including another copy of the same content dumbed-down to PDF objects, and stored in .ai format's "marked off" area. If you then, for example, Place the .ai file in InDesign, InDesign in fact imports the "hidden" PDF content, not the .ai content.
The problem is, this scheme has been marketed as "equality" between Illustrator's native format and PDF format, and that has led to needless confusion. It's as if saying:
A may contain B.
Therefore A equals B.
Which, of course, is bogus. According to what I have been told, Corel, for example, could hide its fully-native Draw content within the "marked off" region of a PDF exportd from Draw. Corel could then, I guess, similarly claim that Draw and PDF are "equal."
Try this:
Open an Illustrator file. Make sure it contains some Illustrator-specific content, like a live Blend and a multi-line AreaType object. Save it as PDF, but turn off the Illustrator Editability checkbox. You have now exported the file as PDF content. Now open the PDF in Illustrator. It will open, because Illustrator can understand the simpler objects. But you'll find that the Blend is not an AI blend at all; it's just a stack of individual paths. The text object will be multiple textFrame objects, not one AreaType object with auto-wrapping text.
Now go back to the original AI document. Save it as AI, but turn off the Acrobat Compatibilty checkbox. Launch InDesign and try to Place the .ai file. InDesign will tell you it can't place the file. That's because InDesign can't really place .ai content. It can place PDF content, but there isn't a PDF version of the content in the .ai file you are trying to place.
So...
> I like the flexibility of saving as a .pdf
That's fine, so long as you are not fooled by the smoke-and-mirrors. If you allow yourself to go on thinking that PDF and AI are actually "the same thing," you'll be scratching your head as soon as you open a PDF that
doesn't happen to also contain a stashed-away version of itself in .ai-native format. (For just one example, if you ever happened to open a PDF saved by me.)
JET

What's the difference between BRM predef functions isSet and nilled

Hello again experts,
Just a little question:
What's the difference between BRM predef functions - isSet() versus nilled() ?
Thanks in advanced

Hi There,
Check out [this|http://help.sap.com/saphelp_nwce72/helpdata/en/e6/9a62d540184161aaa08af5dea3e2ee/frameset.htm]. You will find the details of SAP provided difference between the two in this document.
Best regards,
Bala

Package variable versus application context variables

Any difference in using package level variables versus setting attribute value pairs in a session based context ?
Thanks

Packaged variable - can be used only by user having execute privilege on the package. Same user can modify the values of the packaged variable when logged on to the session.
Context variable - It cannot be set by only mere value assignment, It needs to the call to a procedure(trusted program) to set the value, hence it is more secure.
Both are global variables & can be accessed throughout the session.
Regards,

New 16:9 squeeze vs. 4:3 question (hopefully not a re-hash)

first of all, i did numerous searches to find the answer to this...couldn't find it. if this has BEEN answered before, please either answer again or direct me to the proper thread. please be kind. flaming is not necessary.
i work at a broadcast station. i am tasked to do a project that will be viewable in both 4:3 and 16:9. (we won't go into why. that's just the way it is.)
i'm shooting with a dvx100a.
from what i understand:
the only way to have one project do both of these is to shoot in 16:9 and export to dvd and the dvd player will know whether i have a 4:3 TV or a 16:9 TV and out put accordingly.
i don't have that option - it will be broacast, so as i understand it, i will have to create two projects, one 4:3 and one 16:9.
i have two questions but i guess the second is dependent on the answer to the first.
with 4:3 footage, importing to a 16:9 timeline, i zoom the footage to fill in the empty vertical space. the image is now distorted on a 4:3 set, but fine on a 16:9 set, as it should be. correct so far?
so, first question: if i import 16:9 footage into a 4:3 timeline, then zoom to fill in the empty horizontal space, will the image be fine on a 4:3 set and distorted on a 16:9 set?
second question:
for 16:9, from all that i've read, it's better to shoot 4:3, where you won't loose resolution, import to 16:9 timeline and zoom (where some resolution will now be lost.
for 4:3, no problem, no resolution lost BUT: if i'm shooting only once, for both 4:3 and 16:9 viewing, then i have to frame the 4:3 for 16:9 while shooting. so when converted to 16:9 fine, good picture with framing. but with 4:3, more head room and bottom than i want. so the question is if i shoot in 4:3, framing for 16:9, but import to a 4:3 timeline for the 4:3 project, i will still have to zoom in to loose the excesive headroom, ergo, loss of resolution again.
so in this case, would it matter whether i shoot 4:3 or 16:9? the only problem i see shooting 16:9 for 4:3 is that first, i loose resolution shooting 16:9 to start with and then when i import the 16:9 to the 4:3 timeline and zoom in to fill the aspect ratio, i'm loosing even more resolution. does this sound right?
anything i missed?
thanks very much in advance
carl

HI Tom,
Thank you for your quick response. I did not think there was a way to modify geometry at ingest to fcp, but thought i would ask.
Actually, I would like to preserve HD resolution, but I need a 4:3 versus 16:9 aspect ratio - silent film look. Also, it will be important during editing to see the 4:3 image.
Output will be internet or projection at film festivals, etc.
Given that would you recommend simply trimming (cropping) pixels in fcp and then do the final transcode to my output format after edit or doing another ProRes 422 transcode to get to 4:3 right off the bat?
Also, any opinion regarding the perceivable quality differences from capturing in ProRes 422 versus 422 LT? There is a lot I want to do in post using subtle effects to get the look of an old film - gamma, motion, grain, etc.
Capture time tonight after final day of shooting. If I save the original AVCHD files to a directory my understanding is that I could always recapture the original clips at a different ProRes setting? Whatever in and out points I used in log and transfer would apply to a "re-ingest"?
First time using a file versus tape work flow.
Thanks,
Wayne

G4 Quicksilver freezes at desktop screen requiring PRAM reset.

Hi,
I recently got a used G4 dual 1 GHZ Quicksilver with two internal hard drives(80 & 40GB). I made some mistakes when I first received it, being used to running OS 9 on a blueberry G3 with one hard drive, and now it frequently freezes after a cold start at the desktop screen.
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My wife came home for luch and I needed to leave. I tried to stop the program, I couldn't. I tried to shut down the computer, it wouldn't. So, I unplugged the computer. Second mistake.
When I got home I couldn't turn the computer on. With some research I discovered how to reset the PMU. That did it.
Unfortunately, I still hadn't learned to not try to open one hard drive while running the other without selecting it as a startup item. As a result, late that night I tried a half dozen more times to open an application on the OS 9 (slave) hard drive while not understanding that I was running the master HD. All with the same result. It took 15 minutes to open ending with a text block about the "21 day trial period for IPNetSentry" having expired then total lock up. Then I restarted and repeated the same mistake. The only thing that stopped me was that it was 2:30 in the morning. Sounds pretty stupid now. I then tried to find all the threads of this IPNet Sentry and trash them.
The next morning my current problem seemed to begin. The screen freezes once I get to the desktop screen. I can reset the PRAM and all is fine again until the next time I turn the computer off and start it up again. It doesn't happen every time. It will happen for a few days, go away then after a week or so start acting up again. I also noticed that it doesn't lock up when I use restart, only when it is all the way off and turned on again.
Here's what I have done to try to resolve the problem. I scrubbed both hard drives using the restore software, and I replaced the PRAM or back up battery. The apple hardware test disk passes everything.
One more big clue. When I was reloading the restore software on the master HD I got the messages "!Could not restore the restricted-segment image. Reading block 00174A440." and then "The restore failed. The volume 'MacIntosh HD' may be unusable." Another time the first text block was the same except the reading block was 002141B0. Major bummer. It took four or five tries before I get get all five of the restore disks to install.
In another forum I found someone else with a similar message and a responder said that the hard drive may have gotten scratched. His thinking was that in trying to open a big file (in this case, the application on the slave HD while running the master HD) that the memory got used up and spilled into virtual memory and somehow scratched the master HD.
If anyone has any ideas of things to try before I go out and by another hard drive I would really appreciate it. Thanks!
G4 Dual 1 GHZ Quicksilver Mac OS X (10.4.8) 80GB HD + 40 GB HD

G4RAY,
So, it sounds like you are saying that the Ultra ATA-100 will work in my machine.
Yes, an Ultra ATA-100 or Ultra ATA-133 hard drive should work just fine, and your G4 does not have a 128GB size limitation so you can use any size you desire as long as you format the drive with OS X 10.2 or a later version of OS X Disk Utility. There's no real practical performance difference between using an ATA-100 versus ATA-133 drive with the drive bus on your Mac. One thing that does help drive performance, however, is the drive buffer size. Given the choice, get a drive with an 8MB buffer over one with a 2MB buffer. If you will be looking in the 300GB and larger range, some drives are available with a 16MB buffer.
A new drive typically comes with a new 80-wire, 40-pin, Ultra DMA ribbon cable; drive pin jumpers, and a set of mounting screws. I'd use the new cable and jumper the drives as master and slave. You should have no issues with new slave drive of any size, either. Also, with a two-drive setup on a single ribbon cable, it does not matter which drive is connected to the inline or end connector, as long as one is jumpered as master and the other as slave.
Crucial arguably produces the highest quality RAM, although it's pricey. I've been using RAM from OWC and Kingston without issue. Regardless of where you might decide to get more RAM, I'd suggest doing hardware additions in phases, rather than all at once. It gives one an opportunity to test the configuration before making the next addition; and if there's a problem, it's often much easier to pinpoint. I'd straighten out my drive issues, run the Mac for a couple of weeks, then order/install new RAM, for example.
BTW - If you do get a new drive(s) and need some help with drive pin settings, or perhaps might be looking for some tips on setting them up with a backup plan, there are plenty of folks here who can offer helpful advice.
Gary

Configuring a Directory Server for Digital IDs and Certificates

My company is moving toward using electronic signatures for internal documents. All of the users are on XP machines and have Acrobat Professional 8.0 installed. So far, I've been manually adding trusted IDs for each person who will be receiving signed documents that need to be validated. I'd like to make this a little easier by storing everyone's certificates on a server (Windows 2003) so that people can just go out there and add them all as one .fdf file. What I'm wondering is, what is the difference between doing it this way versus going through Acrobat and configuring a directory server? Will it work either way?
Thanks!
Anita

Hi,
Sorry for the late reply, regarding the error message: The DHCP services could not Contact Active Directory,
please check the below KB article to see if it could help here:
You are unable to authorize DHCP Server in Active Directory
http://support.microsoft.com/kb/303317/en-us
Reference for error ID 1059, and
error ID 10020.
For The specified server are already present in the directory services,
please take a look into the below Blog:
Active Directory DHCP authorisation issues
The method mentioned in the blog above is trying to move the old information that stored in AD, and then take an action of re-authorisation of the DHCP server.
Hope this may help
Best regards
Michael
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Who thinks the International pricing of Adobe Products is Fair?

IMHO the pricing policy of Adobe sucks big time.
I can understand charging a small preium for trnaslations into other languages (extra work)
But why does it cost more for English language software in one region than another?
The price for master suites in the US is sssooo much lower than in Europe, even for an English language version.
We don't all have to have German language software.
In fact I know a lot of people who prefer to work with English language software who work internationally.
There's no excuse for this. It's the same product in the US and the UK!
(USD 2499 versus GBP 2489)
Exchange rate is 0.6279 = 1569 GBP + VAT @ 15% = fair price of 1800GBP
And then why does it cost even more for a download than a hard copy shipment?
(2630 GBP versus 2489 GBP)
What a joke. The internet should make things cheaper not more expensive!
Europe is a single market. People in Germany are even worse off!
Yes we all know about currency fluctuations, import duties and tax differences (15% VAT in the UK * 19% MWSt in Germany), but Adobe are just ripping off people in mainland Europe.
No way do these differences justify the MASSIVE difference in price. (EUR 3245 versus GBP 2489)
Fair price for English language software in Germany should be 2499 * 0.6875 *1.19 = 2044 EUR
But Adobe want to charge you 3245 EUR! That's 60% too much even after taking into account tax differences!
Roll on transparency and the single market!

I second that.
I just checked for After Effects. The US price for a full version is USD 999 (which would be CHF 909 at the current rate) but Adobe charges CHF 1'529.26 (!!!) - and I'm talking about the English version. In Switzerland we have a very moderate VAT of 8%, so that's no excuse either.
Come on Adobe, 50% more because we're not american??
I find this behaviour extremely customer unfriendly to be honest...It's a rip-off.
Adobe, you're killing very good products with your attitude...

Audio tracks: lock vs disconnect?

Hi, all. I'm new to iMac and FCE Express. I'm not sure I understand the functional difference between locking the audio tracks versus disconnecting them. Don't both functions do the same thing?
Thanks,
Jeff

Yes, I guess I'm referring to the patch panel.
So you're saying that if I UNpatch, say, an audio track, and I have a clip in the Viewer that has both video AND audio, moving it to the timeline with the UNpatched audio track will move the video portion only, and not the new clip's audio?
I'm sorry, I don't mean to be an idiot about all this. I think I understand the concept of LOCKING and UNLOCKING the tracks in the timeline. I'm just not getting the whole thing of PATCHING and UNPATCHING tracks, and when patching and unpatching is to be used instead of locking and unlocking. It's a mental block of some sort??
Thanks,
Jeff
Message was edited by: jla930

DVD Export - Problems

Hello,
I shot some video a while back and I am trying to make a DVD with the footage. I have several questions and any help would be greatly appreciated!
First Camera: JVC GZ-HD5
I used the 1440CBR (1440x1080i, 27Mbps Constant Bit Rate) record setting.
Is there are difference if I capture the footage versus taking the file off the camera? The camera files are .tod files and I have to change the file extension to .m2ts for them to import in to Premiere?
Second Camera: Sony SD Camcorder
If I want to make a DVD using both cameras footage which sequence preset should I use?
What is the best option for exporting to DVD?
Thanks!

There are two quick and easy ways to resize your HD footage to SD. The first I'm not sure about, the second I know works.
1) Select it in your bin and choose the "Clip | Modify | Interpret Footage" command, and make your adjustment there, bringing it to match the framerate and frame size of your SD footage (be careful, though, not to "squash" your video if you've got 4:3 SD...)
2) Select your clips in the timeline, right click, and select "Scale to Frame Size." This may perhaps be the best option, though may not be as quick as selecting it all at once in the bin. Note that you can select multiple clips in the timeline by pressing the "A" key on your keyboard and then clicking on your first clip. It will select that clip and all that follow it.
As to the instructions in your user manual, it sounds like it's asking you to brink the footage in over firewire, which isn't the proper workflow for digital format stuff... If the footage works copied to your computer and changed to mts files, then go that route. If PrPro doesn't recognize it, then you'll need to figure a different way to ingest it. However, playing back and capturing over firewire doesn't seem to be a very sensible option.

Adobe CS4 Design Premium Compatability

Hello,
My daughter is required to use Adobe CS4 Design Premium by her School. I will have to buy a new laptop for this purpose. In this regard, I have few queries:
Most laptops come with Windows Vista Home Premium (64-bit) OS. Since the Adobe website states that this program is certified for 32-bit, I am not sure whether CS4 could perform perfectly on Vista 64-bit platform?
If the answer to the above is yes, then I intend to purchase a laptop with specs of Intel Duo 2 Core T6500 (2.1 Ghz 800 FSB 2MB Cache), 4GB RAM DDR2 800 MHz, display 1280 x 800, and 250GB 5400 rpm hard drive. Is this hardware sufficient to run CS4?
I am a layman as far as technology is concerned. I called up Adobe technical support 2 times: first time they said it wont work and second time they said it will work!!. I am totally confused. Since this means a significant investment to me, I request help and guidance from anyone on this subject.
Thanks,
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As you realize, the sky is the limit in terms of how you can configure a system. You could literally spend $10,000 on a new production PC but that certainly would not necessarily buy you any advantage unless you had particular needs that could take advantage of the extra juice that such a pricey configuration provides.
The problem with your request is that it doesn't say really what the typical user of these 2 to 3 new production PCs will actually be doing. For example, are they doing simple web page design in Dreamweaver with occasional entry into Photoshop to edit low resolution images for web display? Or are they jack-of-all-trade designers with windows open in InDesign, Photoshop, and Illustrator simultaneously dealing with graphically very complex and large files? Dedicated to graphics work or are there half a dozen browser windows plus Outlook (or some other e-mail client) open simultaneously?
Personally, I tend to “over-configure” on the basis that if I buy high quality systems not quite at the bleeding edge, but closer to the leading edge, I'll have a system that has a useful lifetime of at least four to five years although Adobe does “allow” its engineering employees' systems to be replaced every three years. I am currently running on a Dell Precision 5400 workstation (current model is 5500) with dual Xeon Quad Core 3ghz processors, 8GB of memory, two 15000rpm SAS (serially attached SCSI) 300GB disk drives, a DVD+/-R burner, gigabit Ethernet, Bluetooth, and an nVidia Quadro FX 1700 video card driving a Dell 3007WP 30" monitor (2560x1600pixels). I have a very pedestrian Dell keyboard, but a Microsoft 8000 Bluetooth mouse. I do run quite a bit of stuff on this system using it as the hub in my office for running backups of other systems (to a bunch of IEEE1394-attached external drives), running InDesign, Illustrator, and Photoshop often in parallel, running tests against a development copy of the Adobe PDF Print Engine running on my system, as well as having e-mail and browsers open at all time. This system is running Vista Ultimate SP2 64-bit. This is really overkill for most users.
What you can get away for your users with of course depends on the tasks they will be running per my questions in the second paragraph above. Without those answers, some generalities:
(1)     Unless you are doing heavy video work, you really don't need more than one processor. A single processor at approximately 2.5 ghz or better with either 2 or 4 cores will do fine in most cases.
(2)     Memory is relatively cheap and will enhance performance more than almost any other resource you can buy today. In conjunction with that, go for either Vista 64-bit or Windows 7 64-bit (stay away from XP 64-bit like the plague). Why? Even though only Photoshop currently has a 64-bit version that can take advantage of 64-bit processing on its own, the 64-bit OS supports more than 3GB of memory and as such allowing larger amounts of real memory, you avoid the tremendous amount of disk thrashing that goes on as part of virtual memory paging operations when a whole bunch of applications running concurrently are competing for a small amount of real memory. I personally recommend 8 GB of memory in conjunction with Windows 64-bit as a minimum, even on new notebook systems!
(3)     Disk performance is also key, especially if you are dealing with large data files. As such, 10000rpm Serial ATA or 15000rpm SAS (serially attached SCSI) drives make a tremendous, noticeable difference in performance. However, high performance disks are quite pricey, especially the SAS ones since it is now a limited, specialty market. (For new notebook systems, avoid anything other than 7200rpm drives - the difference in cost for a 5400 versus a 7200rpm drive is quite small now. I just bought a new 500GB 7200rpm drive to update my notebook system - the cost of the drive was less than $150.)
(4)     You don't need a smoking video card (those things that cost upwards of $500 to $1000) to support the Adobe Creative Suite unless you are doing extensive video work or playing high performance video games in your spare time. Typically, a mid-range video card that supports very high resolution (such as 2560x1600) will be fine. What you don't want, either on a desktop system or a notebook computer, is an “integrated display adapter” that shares memory with the CPU. Typically, such video support appears on low end desktop and/or notebook computers - avoid like the plague!
(5)     For desktop systems, I'm partial to large, high resolution monitors even though my vision is quite good. I'm dealing with graphic arts and I need/want both high resolution and real estate. Although these 30" 2560x1600 monitors are relatively expensive, with reasonable care, they can last for years. I have one such monitor that is now in its fifth year with no degradation of quality. Cost per day is very low to keep your eyes from going crazy and to make your work more efficient. Once you use one these babies, you can't go back!
(6)     No preference on motherboards. That decision is generally made for you if you order a system from a major vendor. I personally am not into build-it-yourself systems. Not that I can't build those, but quite frankly, my own time is worth something and my biggest problem is having enough time to do everything I want. I get no particular pleasure in DIY computer building.
More if you give me more specifics about the usage profiles for the systems you will need to purchase.
          - Dov

Imac for Pro Digital Photography....

I do quite a bit of digital photography with high-end digital backs, was wondering if there would be a significant difference in buying a Mac Pro versus the 2.8 extreme or the 2.4 Imac with an equivalent amount of ram, say 4 gigs. The cost would be greater off course going the Mac Pro route including monitor etc. and less portable. And the expandability issue, which really isn't a problem since I use quite a bit of external drives.
Currently I'm using a first generation intel Imac 20' been having a few connection issues with the camera, not quite sure if it's software or hardware but still get good results with this machine.
I have never used a Mac Pro for this application so not sure if there truly is a mind blowing difference.
I like the portability of the Imac and the quick set up. Also I've heard some rumors about the glossy screen being an issue.
Any comments would be appreciated.
Much Thanks.
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Never buy a sweater without trying it on.
Visit an Apple Store or make a query at your local Mac users group. I know we have lots of pro & amateur photographers in our MUG (especially in the Ps & Ps Elements SIG) who are always showing each other stuff on their computers.
I have found that many people who do a LOT of digital photography are peculiar in that they like to rely on the evidence of their own eyes more than the opinions of others.
The glossy screen is NOT an issue any more than the glossy inside of the windshield of your car is an issue. It is entirely POSSIBLE to focus on your reflection in your windshield while driving instead of looking through it, but the results are not encouraging. Its a matter of perception, not vision. The human visual system (in more developed examples of the species) quickly sees through the glass instead of focusing on it.
M

Vendor Syncronization

Dear Gurus,
We have read some threads about vendor synchronization, but we still have some doubts about the strategy of the synchronization.
Can anybody tell us how are you managing with this topic? I mean:
1- how do you perform the initial load of vendors in SRM?
2- how do you keep them update?
3- What´s the use of BBP_VENDOR_SYNC ? Create of only update?
Now we are performing the initial load with transaction BBPGETVD but this transaction can not be used for all vendors. And if we run report BBP_VENDOR_SYNC no vendor is synchronized.
Thanks for the help!!!!

Hi
<b>Please go through the links -></b>
Note 1029497 - BBP_VENDOR_SYNC: vendors cannot be updated
Note 953682 - BBP_VENDOR_SYNC: Vendor replication
Note 823629 - EBP Vendor Replication from R/3 BBP_VENDOR_SYNC
Different programs for vendor update
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Regards
- Atul

Completion indicator vs. liquidating a funds reservation

Hi all,
Can someone clearly explain what the difference between liquidating a funds reservation versus marking the completion indicator or completing a funds reservation is?
How does one liquidate a funds reservation? FMRE_SERLK or FMX6? fmz6?
Finally, can you briefly explain or redirect me to explanation of MM-FM integration? (How does a PO created based on the funds reservation impact the funds reservation document after the purchase is made)
Your response is much appreciated.
Thanks.
R

Hi,
Indeed, when you set the completion indicator, all 100 become available again. In reality, completion indicator is set, when you have, for example, reservation of 40, out of which 38, were consumed by the invoices. You do not need the residual 2, so you set the completion indicator, making these 2 available for new consumption. Liquidation brings to the same result, but in this case you actually change the reserved amount.
Regarding PO: when you post GR (or IR, depending on the settings of your FM update profile and on valuated/non-valuated GR parameter), the commitment is consumed and the actual is posted. But the residual budget does not change: suppose you have budget of 100. You make a reservation of 40 - the available budget is 60. You make a PO of 20 on this reservation - the residual budget remains the same. You post GR on this PO of 20: the residual budget remains the same - only the commitment is reduced and actual consumption is posted instead.
Regards,
Eli

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