Exporting notion

The whole notion of Exporting images from Aperture to Photoshop (or any other editing program) seems completely counter-productive. Every image that goes through this process is duplicated, perhaps even several times. With RAW files being so large, where's the logic in that -- especially if your library if images can't span multiple volumes?
Wouldn't it make more sense to have one copy of an image that every application uses? I guess if Aperture is simply a RAW image catalog & archive tool, then it is what it is. But all the promotional materials I've seen on Aperture tout it as significantly more than that.
So what exactly is Aperture? It's CLEARLY not the be-all, end-all workflow tool we've been told it is. So what on Earth is it supposed to be used for?
ALF

To export your contacts from Microsoft Outlook to a .csv (Comma Separated Values) file:
Launch Microsoft Outlook.
Select File | Import and Export...
Select Export to a file and click Next.
Select Comma Separated Values (Windows) and click Next.
Select your Contacts folder and click Next.
Enter the filename in the Save exported file as: field and click Next.
You will then see a window explaining that your Contacts will be exported.  Click Finish.  Your CSV file has now been created.
Tzuri Ben Ezra | My Certifications:
CompTIA A+ ,Microsoft MCP, MCTS, MCSA, MCITP |
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Similar Messages

  • How can I properly export video w/ bars to Rec709 (16-235 in 8-bit) from Premiere's RGB (0-255)?

    I have hit some real frustrations in working with Premiere to meet broadcast Rec709 standards for DVD & Blu-Ray. Avid Symphony works in a Rec709 space and clearly operates with its video signal from 16-235 (which matches IRE 7.5 to 100), but Premiere doesn't seem to have this understanding in its programming and engineering. Here are my issues:
    1) I can't manually enter in the digital values in the RGB Curve tool's points. Why would Premiere's engineers lock this basic feature out? It's in Photoshop.
    2) I can't properly export Premiere's color bars. In order to export to Rec709 standards, to get around issue #1, I hack into the RGB Curves preset XML file to lift the Master Curve's point 1 from 0 to 16 and set the final white point from 255 to 235. If I use Premiere's bars, on the waveform, I can see the sub-black values, but when I lift the blacks with the curves preset, it clips all sub-black values upon export. WHY?! To get around this problem, I import bars generated by a camera (for example, by a Sony EX-350, i.e. XDCAM footage). All of this wouldn't be an issue if there were an export function that specifies exporting to rec709's 16-235 values instead of 0-255, as Avid does.
    3) Particularly, the Waveform scope lies to me. The 7.5 IRE setup button does NOTHING for me, it's just a preview option that causes more confusion than clarity. Does Premiere map 0 out of 0-255 as 0 IRE or 7.5 IRE? I think it does the former and just uses that setup button to make you think that it's at 7.5. so if you do set it to 7.5, how then do you export it to match that option? Also, why can't the waveform scope have multiple options for the units - not just IRE, but also digital values (8-bit, 10-bit, linearized, etc.)?!
    4) Speaking of importing the bars and footage. To continue the example of the Sony EX-350 - it imports the bars automatically by putting the black values at 0 IRE, not 7.5 IRE.
    If Adobe wants industry professionals to take Premiere seriously, it needs to open up these options and clearly present what happens to tonal values in the image. It's very frustrating to figure out all of these problems and create cockamamy work-arounds.
    http://www.avsforum.com/avs-vb/showthread.php?t=1090642
    http://www.glennchan.info/articles/technical/setup/75IREsetup.html

    Steve,
    Thanks for your reply! However, I hope you don't take my response the wrong way, but, with no meaning of disrespect to you personally, the notion that curves are the wrong tool for numeric adjustments extremely infuriates me and displays a real lack of understanding of why a colorist or cinematographer such as myself would want to use curves in the first place.
    First, any LUT generation program or coloring program, such as Apple Color, gives complete access to numerical control to give precise, repeatable changes that you cannot get with the drag of a mouse. Photoshop, Avid Symphony, etc. all have curves tools with the ability to manually enter points.
    Second, on a user level, there should be no wrong tool for numeric adjustments, especially curves - they are the most precise means to obtain a specific contrast response. Levels or RGB corrector will only give gamma, pedestal, and gain operations, but curves gives every possible shape of a contrast response in between. If I wanted to create a very specific S-curve, I must use the curves tool to do so.
    Third, the question at hand is not Premiere Pro's ability to process natively in Rec709 with signal from 16-235 - Premiere's native ability to process all types of video input is the sole reason why I've switched to it as a platform. 'Sub-black values are not necessarily clamped'?! How then can I export a TIFF, for example, of Premiere's bars, with the sub-black values left intact? How do I even access these sub-black values, when all footage clips below 0 IRE? The primary question is, how does Premiere handle and export these IRE values with respect to digital values, whether they are 8-bit, 10-bit, 12-bit, etc.?
    Adobe's video workflow lacks a concise, cohesive FAQ or explanation of its numerical signal chain. At least, I have missed it and can't find it anywhere. If I want to properly color grade footage with a proper final output in mind, I need to know my end goals to take the proper intermediary steps.
    SteveHoeg wrote:
    Hey Tim - Premiere Pro can process natively in Rec709 with signal from 16-235 you do not need special adjustments. Curves are the wrong tool for numeric adjustments, try Levels or RGB Corrector. Sub black values are not necessarily clamped on export.  --sh

  • How do export a double page spread photo to epub and fill an ipad screen?

    I'm completely new to indesign. I'm using XP and Indesign CS6.  I'm testing my epub on the new IPad 3.
    I've published numerous books in print form with major publishing house in the US.  I need to quickly get a copy of the book in epub format for publication on the ipads. Maybe later for the nook, etc. Eventually I will want to design new ebooks from scratch. 
    We are scanning the book spreads [photos and text together a double page spread] and want to show those spreads on the ipad as a single horizontal image with no page gutter.  We've placed those jpg spreads in indesign as a double page spread. When we publish to epub it does not show as a double page spread.  It only shows up as a horizontal image on either the left or right side of a vertical book [gutter layout] view on the ipad. It never spreads out to fill the entire ipad screen.  What simple thing are we missing?
    Thanks so much
    Dwight

    "The" iPad does not exist as a target, so I'm assuming you mean you export to a regular ePub and are viewing it using iBooks.
    iBooks is page-agnostic. ePubs do not support the notion of "left-right" pages. In fact, iBooks is the only ePub viewer I am aware of that even tries to show "two" pages at a time.
    Re-design your document so each image appears on its own page.

  • Export Settings - Minimum Bit Rate Question (MPEG2-DVD)

    Hi,
    Curious...just came over recently from FCP and I don't remember Compressor giving me an option to adjust the MINIMUM bit rate when exporting HD projects for DVD. I figured I'd just leave it where the preset has it (at 2.8mbps minimum)...BUT...then I hovered over it and saw an interesting popup/explanation of what it does which kind of confuses me. It says:
    Higher values set a higher minimum quality, but reduce quality of more difficult scenes.
    The first part makes sense so I figured I'd raise it...but then the second part makes me think I should keep it low. Sort of confuses me. Any thoughts??? FYI: My projects are Weddings with a fair amount of action, etc.
    Normally, these are my settings depending unless I can't fit the project onto the disc in which case I adjust:
    DVD
    CBR at 7.5mbps
    ...or...
    VBR 2pass
    Target Bit Rate: About 6.8 or 7mbps
    Max Bit Rate: Usually 8mbps
    BLURAY
    VBR 2pass
    Target Bit Rate: 25mbps
    Max Bit Rate: 30mbps
    Unless someone tells me that I should raise these settings higher for better quality output (if the project size allows of course) these are what I've been using to get maximum quality out of my videos without jepordizing playback due to bit rate max for each media (which I think I read was 10mb and 40 or 50mbps respectively. I was just thrown by the minimum bit rate description above.
    Thank you in advance for your help!

    The whole notion of a minimum bitrate is crazy unless you have specific broadcast requirements that require you to pad out video to keep the connection alive.
    If the encoder can express the image with zero loss in less than the minimum bitrate why would you pad it with zeros to get the bitrate high enough to meet the min?
    The idea of a nominal/average bitrate is easy to understand.
    The Maximum bitrate is often misunderstood though.
    On some encoders the max rate sets the wiggle room (max - average) that can be used if there is a burst of required information.
    On other encoders it sets the maximum rate at which the video buffer is allowed to fill as per the specifications. eg Blu-ray is capped at 40Mbps. The Video encode itself MAY EXCEED THAT 40Mbps for a split second but will only LOAD into the video buffer at up to 40Mbps.
    For example, if you set constant bitrate at 20Mbps and no Maximum rate when the video first starts loading from the blu-ray disc to the video buffer it loads faster than the blu-ray maximum of 40Mbps. Thus you MUST have a maximum rate defined (for blu-ray compliance) even though it's a constant bitrate. Some encoders do this for you but some leave it up to the user to get right (and thus should provide a max slider and constant slider to set both).
    Jeff- absolutely agree. It's very rare that you need to use all 40Mbps available to you. 20 and 30 can look great (depending on the detail in the sceen and how much motion there is).
    VBR 2-pass does have value if you're trying to get down to lower rates like 10Mbps to fit a long title on a disc. If you don't action shots with sceen cuts will leave artifacts as they are bit starved.
    I'm actually a big fan of Constant _Quality_ (CQ) vs CBR or VBR. You then know what quality you're going to get on every frame and from experience will know how big it will come out to be. CQ is also considerably faster to render because you have no rate control computations to do. x264pro has a CQ option for this very reason.
    hope that helps.

  • Export for printing

    I'm trying to export a full-sized jpeg from my Nikon D610 RAW file. When I go to the export screen, I'm faced with a number of options that include "file settings" and "image sizing". The "file settings" section can be controlled for 100 quality to output a jpeg with no file size limit. However, in the "image sizing" section, I'm forced to pick a ppi resolution. I don't want to pick a resolution ... I simply want to export the maximum jpeg file from my RAW image. In Apple's Aperture software, I can simply select "original size" and it exports clean, maximized jpegs that print perfectly every time. With Lightroom, I'm baffled that I can't do something so simple.  How can I do this type of export in Lightroom 5? Thanks all!  Mark

    Sorry Mark, but I beg to disagree.
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    and you are never "forced" to enter any ppi in that field of the resize panel;.
    If you set ppi to 1 then an image 3000pixels wide will appear 3000 inches wide.
    If you set ppi to 60000 then an image 3000pixels wide will appear 0.05 inch wide.
    BUT the PIXEL SIZE is still the same =3000pixels wide!
    Below is a very long Q&A, similar to your question, that I have copied from another post on resizing (and I forget who to credit for this answer)- have a read.
    Q.        Something has changed in my Export settings and I can't figure it out.  If I insert a file into any application (i.e. PowerPoint, Word, Publisher) that I exported from LR5.7 previous to last week, the images look fine . If I export a new image, the file size is large (10MB), but when I insert it into any application, the image itself is extremely small . I know it is not the picture itself, because I have tried it with images that have worked in the past that worked and now are experiencing the same issue. If I try to resize it in the program the image itself just becomes very distorted and pixelated. Any thoughts on what is wrong or what I screwed. I also included an image of my LR Export window
    You have set your PPI (resolution) to 5000 pixels per inch. This does not affect the actual number of pixels contained in the image, but it can affect what happens to the image when it is brought into some applications - mainly, applications where the image is being placed onto some kind of a page.
    In particular, with "desktop publishing"  type programs, the application assumes that the stated physical size of the image (which is notionally calculated from the number of pixels in the image, combined with the PPI setting) has been "intended". And what you see within the program may not be the actual image, but instead a preview image made for some standardised PPI resolution.
    To take a specific example: if you export a 5000px wide photo, and you set 5000ppi, and place it within a page layout program, that program will be thinking of it as a one inch wide image. If it makes a preview image for its own working purposes at 72ppi, then this preview will accordingly be 72 pixels wide - and will therefore look much cruder than your 5000px wide original would have done, as you manipulate this previewed image on screen.
    On the other hand, if you export a 5000px wide photo, and you set 50ppi, and do everything else the same - the application will be treating this not as a 1" wide image, but as a 100" wide image, and its preview image (through this difference alone; remembering, the image file is unchanged except for the PPI setting) will in that case, be 7200px wide instead of 72px wide. And you will see every detail of the photo, whether that is appropriate or not... and the publication's saved file size will be much bigger, and it may be slower and more inconvenient to work with due to the sheer number of pixels in this preview,
    The usual advice is perfectly correct, that if you have not set a physical size for your export (in inches or centimetres) then the PPI setting is not doing anything so far as the number of pixels in the exported image. But as you have discovered, it may still be a good idea to set this to some more moderate figure - and one very common convention for this, is 300ppi.

  • JPEG export of QuickTime frame (with Location info)

    Shoot QuickTime with iPhone 4S camera app.   Import into iPhoto and see that location data is recorded in file by nature of the fact that iPhoto shows a map pin of the location it was shot.   Park QuickTime on a frame in iPhoto.  Select File Export, Kind: JPEG, with Location information ticked (which when I hover over this option says "Include GPS data in exported photos" -- see attached photo).   Click the Export button.   Choose a folder and save.   Resulting file is not a jpeg but is a 31 KB reference QuickTime of the original 1080p quicktime. 
    Why isn't this working?
    iPhoto ’11 (ver 9.3 650.39)

    Prior to version 9.1.5, iPhoto would export the currently parked frame of a QuickTime file.  (See:
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    Also, what is so wrong with the expectation that a still exported from video (which, by definition, is a series of stills presented at 30 frames per second, giving the illusion of movement) can inherit geolocation data from the originating video?   What makes this such a radical notion?   It is inheriting the width, the height, the saturation, the luminance -- why not throw in the location, which is a tiny morsel of geodata just asking to be plucked?   Those piddly bits would grant the exported still a greater context; they would, indeed, place it on a map.
    And what could be a finer honour for a piece of media, be it a photo, be it a QuickTime, be it a still exported from a QuickTime, than to be given its place on the iPhoto map.  Such a proud distinction that says "Yes, I am an image (or a moving image, or a still taken from a moving image) and I was taken here."   Do not deny the honour of placement to these media.  All are worthy of placement on the map, because all are historical artifacts that beg for geo-context.   And without geo-context, they become lost.
    Goodnight.
    (P.S. I plan to export lots of stills from lots of QuickTimes and do not want to do manual geotagging.  No thanks.)

  • Color shift when exporting to sRGB (mac)

    I just noticed the following: when I export an image (shot with my Nikon D80, RAW, developed from within Lightroom 2) as JPEG, 100%, sRGB color space, I get a strange color shift towards red, more saturated colors. Everything looks great when I view my image after export from within Finder or Apple Preview. However, when I drag that same file into the browser (Firefox) or then order prints from a photo service, the heavy red color shift is noticable. I've attached an image for you guys to see what I mean.
    What am I doing wrong? Can someone please help?
    I'm thinking that it might have to do with my color calibration? (I calibrated my monitor using the Spyder3 Elite device)
    Edit: By the way, I just turned off my color calibration (changed display profiles), but that didn't fix the problem. Also, the color shift is not visible in Safari (I guess it is able to handle color profiles and Firefox isn't). But still, the color shift is there if I upload photos to a photo printing service and order prints. So, maybe there's something wrong with the color profile that Lightroom embeds in the JPEG file??

    Problem continues (2)...
    ...from both Nikon and Canon RAW sources (I use a 5D MkII), but is it an LR3 issue or a Mac issue? Having read all the posts, I'm still struggling, but here's my contribution.
    A while ago I noticed that colour files, once uploaded to the net, were way too red and saturated as per image below. Resolutions attempted so far below (all to no avail):
    Tested different web browsers; found Firefox and Safari to be similar (to each other), Chrome very much brighter, but none of them are even close to original, so I'm not sure the Firefox loss of colour management mentioned by another contributor explains the issue.
    Change web display vehicle; I find the same on my new web site as I did on Jalbum and various others.
    Calibrate monitor (of course). Screen to output is 99% perfect on this monitor, when soft proofed with correct ICC profiles, so I very much doubt the wide gamut monitor is at fault. (I do find it hard to agree with the notion of it being the wide gamut screen. The whole point of a wide gamut screen is that it cn show a wider range of colours (e.g. in Adobe 98), and when an image's colour space is reduced (e.g. to sRGB) a wide gamut screen can still show that - especially if it is the same screen that didn't have this problem a year ago...).
    Looked at images on a narrow-gamut screen. Same problem.
    Changed colour space from Adobe 98 to ProPhoto in LR3 & CS3. Suspected mismatch between LR3 and CS3 because RAW files converted to DNG and edited in LR3, then pixel edited in CS3 and returned to LR3, come back in a different colour. Using ProPhoto has resolved that particular problem, but made no difference to faulty JPG display once on net.
    Tested JPG conversion compared to other file formats; match between JPG and original RAW and PSD files perfect, whether displayed in LR3, CS3 or Preview, and whether exported to JPG from LR3, CS3 or Bridge. Problem definitely only occurs once images are on web.
    Does anybody know anyone who doesn't have this issue and is using LR3 on a Mac with CS3 and OS 10.5.8?
    Any updates or new ideas most welcome.

  • FIM - How to obtain pending exports from a MA

    I promised a colleague I would post my script on parsing the "Pending Exports"  from a management agent via the "Log File and Stop" Export run profile.
    The script parses through the XML document and creates a report (which can be loaded into Excel after saving as a CSV) to sort and report on any objects with an EAF or that are being added/deleted/modified in that particular MA.
    This is typically most useful after performing a Full Sync due to deploying a big change, new management agent, adding an attribute-flow, changing precedence or go-live. Since I wanted to explain it more in detail, I posted it on my blog, but feel free to
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    FIM - Export Pending Changes
    Update:
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    to the blog post. 
    P.S. There may be a few bugs; for those of you that use either the script or program, let me know if you encounter any issues.

    I got a memory error (my XML file was 500MB+)
    Error: Exception of type 'System.OutOfMemoryException' was thrown.
    I tried with and without the showModifications switch.
    csExport doesn't have a notion of -resultSize, so perhaps your parser could?
    Mike Crowley | MVP
    My Blog --
    Planet Technologies

  • HD Footage HD Export. How?

    hello.
    once an hd/hdv project has been completed in fce, is there such a notion as hd export? i mean (sorry if it sounds primitive), how do i export hd video so that it still stays full-quality hd and does not become a standard quicktime file?

    PNG? That's a still image format. Yes, that simple. If you're editing HD you're exporting the format that you're working with in the timeline. It will be in the Apple Intermediate Codec.
    Message was edited by: Tom Wolsky

  • Adobe Bridge CS6 for mac: export modules, facebook export module gives an error every time i try to sign in

    in the export module for facebook every time i click "sign in to facebook" it gives the following error: "An error occurred while request facebook connection"

    "An error occurred while request facebook connection"
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  • DEVOLUÇÃO DE EXPORTAÇÃO - CFOP 3201 - GRC VALIDA DADOS DI.

    Boa tarde a todos!
    Estamos em um projeto de NFE XML 2.00 e nos deparamos com o seguinte erro:
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    Erro de validação: campo Nº da adição. Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_ADI-NADICAO, ID campo I026)
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    Erro de validação: campo . Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_IMP-CEXPORTADOR, ID campo I024)
    Erro de validação: campo . Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_IMP-DDESEMB, ID campo I023)
    Erro de validação: campo . Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_IMP-DDI, ID campo I020)
    Erro de validação: campo . Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_IMP-NDI, ID campo I019)
    Erro de validação: campo . Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_IMP-UFDESEMB, ID campo I022)
    Erro de validação: campo . Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_IMP-XLOCDESEMB, ID campo I021)
    Estamos no SAPK-10015INSLLNFE e as seguintes notas relacionadas a validação estão aplicadas:
    1493980     Validation for field xJust in cancel and skipping messages
    1499921     Problem with validation after implementing SP15
    1500046     Upgrade validation rule for field ID for version 2.00
    1500742     Adjust validation for field NADICAO and NSEQADIC layout 2.00
    1502217     Extend validation rules for , layout 2
    1504379     Adjust validation for field X_CLISTSERV
    1511291     Update allowed values for field E1_CPAIS for validation
    1511577     Update validation rules for field VUNCOM_V20
    1520861     Update validation rules for OIL_CPRODANP and OIL_UFCONS
    Não encontrei nenhuma nota SAP recente para o componente SLL-NFE que seja relacionada a este problema.
    Desde já agradeço pela ajuda.
    Sds / Renato Penido.

    Boa tarde, Fernando,
    Obrigado pela pronta resposta.
    Debugamos a BADI e descobrimos que os dados de importação estão sendo gravado "em branco", gerando o erro de validação no GRC, tal qual dito por você.
    Aprimoramos a lógica da BADI para que a tag de importação não seja preenchida indevidamente para as notas de devolução do porto e as notas foram aprovadas.
    Muito obrigado,
    Renato Penido.

  • LR 4 exports to wrong folder, anybody else?

    HI, my rig includes Windows 7, Asus P8Z68 Deluxe Gen 3 with i7 2600K, 16GB DDR3 mem, SSD drives, fast Radeon video card.
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    any clues?
    thanks
    Jim

    The subfolder is the folder I selected in the dialogue.  c.frans w is right.  In 2.7 I never had to check and create a subfolder, which is what that box is for, unless I wanted to.  Usually I just select the folder I want, but in 4, when I do that, it jumps to the next higher folder.

  • Auto-generated links exported from InDesign do not work in tablet apps

    Hyperlinks automatically detected and exported from InDesign CS6 8.0.1 as a PDF work fine on the desktop version of Acrobat Reader. However, on the iPad version of Adobe Reader as well as iBooks and GoodReader, these links are completely ignored, meaning they are just text.
    On the other hand, if I was to manually set the hyperlink in InDesign or Acrobat, the link works fine.
    It would be extremely tedious and time consuming to manually reset hundreds of hyperlinks in my documents since InDesign use to handle this correctly.
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    No, it's a Feature of Acrobat and reader that they attempt to create links from anything that "looks like" a URL. Other readers lack the feature.
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  • Export to Text Options needs

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  • Export to excel formatting

    I'm working on a quote report which has narrative sections as well as a table. I can get the report to look great in the application but it has formatting problems once exported to excel.
    In one of my narrative reports I have a simple table with a few columns. Once exported to excel the first narrative column is the entire width of the report table below it. The large cell row is also merged cells in excel.
    Is there anything that can be done to help force how the report goes into excel?
    I have also tried creating the report in a narrative html table to export into excel.

    Can someone explain if they face similar issues as I am when you export a report output on portal to Excel it takes huge size. I assume it because of all the color formatting etc. but is there a way to reduce this size. 3.5 Bex Analyzer same report takes only 3 MB while if I export it from portals it takes 32 MB.

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