GS Workflow with Color

I'm looking to see if anyone has found a seamless way to correct green screen footage using Color. I did some test sequences with GS on V2 keyed over a BG on V1 and sent it to Color. The GS footage comes through unkeyed. I tried nesting the 2 clips with the same results. If I proceed in this fashion, the corrections will change the shade of the green BG and possibly mess up the key when sent back to FCP. If I send the sequence to Color first, I may make the key more difficult to pull. Since there is more control over color corrections in Color, I'd like to be able to use it to correct and match the GS and BG. It seems the only way I figured out how efficiently use Color with GS is to key the footage in FCP, do basic corrections and matching to the foreground and background using the filters in FCP. Then export that section as a QT movie, bring it back into FCP and drop in place in the timeline, then send the sequence to Color for final grading. There has to be a better way.

Andy Matthias wrote:
There has to be a better way.
There is. But it's not easier.
You need to treat the key and the fill separately.
Use the uncorrected footage to pull the key and generate the alpha signal.
Then also send the footage through Color - with the object of correcting for the subject and neutralizing all the green. IOW, make the green go gray and make your foreground subject look great.
Render it out.
In FCP use the key you pulled and fill it with the rendered footage from Color.
The big problem here is that you can't tell in Color if you've been too aggressive in removing green and are bleeding into the foreground subject.
This workflow is a bit more intuitive in FCP where you can see how everything interacts. Or even better - After Effects which is much more polished for this sort of thing.
HTH
- pi

Similar Messages

Wish: annotate workflow with separator, comment or color-coding

I've been developing a Finder workflow that has grown to 23 steps, and more are coming.
The workflow is broken up into segments to 2-4 actions each. I've customized the action names and collapsed each segment in order to better see the overall sequence.
The problem is the segments visually run together. If this were a programming language, I'd visually set off the first action of each segment with a blank line or a comment. I'd like to do the same with my workflows.
The thoughts that come to mind are a visual separator, a workflow comment, colored action names, and color-coding (a la Finder labels). I like coloring best because it doesn't take vertical space (a critical Automator resource).
[I submitted this as formal Feedback - Design/Ease of Use.]

Thanks, lc55, for contributing to this thread.
You could structure the workflow like a regular
program with a main workflow calling subsidiary
workflows ....
That might add clarity to my long scripts, but at the expense of numerous small files, which seems like trading one problem for another.
Here again, conventional programming provide an excellent model to follow, with a main routine and a collection of subroutines in a SINGLE file.

Help with working with color and profiles

Like many others, I suspect, I am having trouble managing the colors on my iMac to match the prints I get. I have a few questions, but first, some background:
1. Screen calibrated with Huey Pantone. Calibration was done with monitor brightness all the way to lowest. I don't use Shades or anything else. I have my Display Profile set to this profile. I'd be happy to post my .icc profile if I knew how. I can email it to anyone who can help here.
2. I have been sending my prints to Costco with the option of turning OFF their Auto Correct. To try to get things to match, I downloaded Costco's printer profiles from http://www.drycreekphoto.com/icc/Profiles/Minnesota_profiles.htm#MN (Eden Prairie, Glossy and Lustre paper profiles).
3. I shoot photos with a Canon XTi with color space set to sRGB. I am using iPhoto 08.
So here are my questions:
1. I loaded the Costco printer profile icc files into /Library/ColorSync/Profiles/Displays. When I open ColorSync, I see them under Profiles/Displays. However, in ColorSync/Devices/Displays/iMac, when I go to change the profile, I navigate to these files but the computer just beeps and won't take them. I thought all icc files could be used by monitors and printers - can these Costco iccs only be used for printers (I noticed the Costco files are 4MB, the other display iccs are 4KB)?
2. How does iPhoto handle color spaces? I import my photos off my CF card. Under iPhoto / Prefs / Advanced, I have both Copy Items and Embed ColorSync Profiles checked. Which color profile is it embedding? The one from the camera (some generic sRGB) or the one my display is using (the Huey)?
3. As a test, I exported my photo as a full size TIFF (a 3.3MB jpeg became a 28MB tiff). I opened the TIFF in Preview. Preview / Tools / Assign Profile came up as "Camera RGB Profile" (so I think this answers question 2 but I'm not sure). While in Preview, if I now change the Display Profile (from Huey to Adobe RGB), the whole screen changes, including the photo I'm looking at in Preview - shouldn't Preview hold the photo the same since it's using a different color profile?
4. I set the Display Profile back to Huey. In Preview, I go back to my photo and under Tools / Assign Profile I assign the profile my Huey profile (instead of Camera RGB). I save this as a jpeg and reimport into iPhoto. When I compare these two photos side by side in iPhoto, they look indistinguishable. Why, if on the original import iPhoto embedded the Camera RGB profile into the photo and I make a copy assigning the Huey profile do they look identical? There's no reason to assume that the Camera RGB and Huey profiles are the same! Or is it some trick where the Display Profile is overriding everything?
5. Lastly, I reopened the original TIFF export in Preview and assigned it the Costco profile (happened to use the glossy one). Lo and behold, what appears on the screen is a much closer version to what I got back as a print. Finally, as one last tweak, I changed my Display Profile from Huey to Adobe RGB and the picture I saw in Preview was closer still to what I got back from Costco. I changed the Display back to Huey, kept the Costco profile assigned and saved my TIFF back to a JPEG. I imported into iPhoto and compared - it looks much closer to my Costco print.
So I'm utterly confused. How do professionals manage their color workflow? Is my Huey calibration whacky? Why, if I assign a color profile to something in Preview, does it really depend on what Display Profile I have set (I thought profiles managed color, but it looks like it's relative).
I apologize for the rather long post, and very much appreciate any help and suggestions here!
Thanks!

The contractual requirements between the vendor and your company may be the key. The contract may or may not discuss whether the vendor's permission to modify the material includes an obligation to make the documents usable. "Usable" may be construed to mean providing original files. If the vendor is required to provide originals, they may or may not be required to provide them in a common format, like MS Word, rather than the proprietary FrameMaker format they use. Their providing a PDF may completely satisfy their obligation; your lawyers may be helpful here.
HTH
Regards,
Peter
Peter Gold
KnowHow ProServices
bmr0330 wrote:
I did ask them for the source file but they haven't been forthcoming with that. I may look into the evaluation copy of FM anyway but considering the price ($868 USD through our catalogue supplier) I doubt I would be able to get a licensed copy once the evaluation runs out. I do appreciate the suggestion though. Thank you. Brian

Export PDF Workflow with Applescript and CS3

Hello,
I am setting up some PDF workflow with Applescript.
On a given moment, as my script runs and after getting some user-input answers to questions in some dialogs, my script tells InDesign CS3 to open the Export Adobe PDF window for the current document. I copied and pasted that small part of the script:
tell application "Adobe InDesign CS3"
tell document 1
export format PDF type to "Macintosh_HD:Test01.pdf" using "somePreset" with showing options
end tell
end tell
When you run this small part of my Applescript, InDesign opens the Export Adobe PDF window (as expected) waiting for me to click on "Export". That is exactly what I want, since the user is given here a last opportunity to change some values (for example page range, or spreads). When all is set, the user can click on Export to close the dialog and finish the script.
Problem: I was hoping that the Adobe PDF Preset "somePreset" would be selected in the first pull-down menu of the Export Adobe PDF window when this window is opened by the script. Unfortunately the last used preset is always selected by default. Anyone suggestions or help?
Kind regards,
Bertus Bolknak.

My operators enter the page range and filename into a dialog box. Then I set those in the script. I use the Press Quality preset to start with and then set the changes I want into a export variable. I set things like bleed, marks, page range, etc.
Here is an example:
set theProps to properties of PDF export preset "[Press Quality]"
try
delete PDF export preset "Schmidt PDF"
end try
set theStyle to {name:"Schmidt PDF", acrobat compatibility:acrobat 7, bleed top:"0.125i", bleed bottom:"0.125i", bleed inside:"0.125i", bleed outside:"0.125i", page marks offset:"0.125i", include ICC profiles:Include None, effective PDF destination profile:use no profile, effective PDF X profile:"No Color Conversion"} & theProps
make PDF export preset with properties theStyle
set properties of PDF export preferences to theStyle
set color bitmap sampling of PDF export preferences to none
set grayscale bitmap sampling of PDF export preferences to none
set page range of PDF export preferences to (item i of myPageList) as string
export document 1 format PDF type to (PrinergyFolder & myJobNumFinal & "_" & VerCode & ".pdf") as Unicode text without showing options
I am also doing this in Quark.

Advice for logical workflow for color correcting and color grading

I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage. Can you advise me as to the most logical workflow for doing this in coordination with PPRO CS5? Are there some tutorials that you recommend? I subscribe to Lynda.com and I think that they have some great tutorials, I am unsure as to where to begin looking and what to search for.
Thanks so much,
Lisa

lisaellensegal wrote:
I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage.
You can do it that way, sure. But you don't have to. You can accomplish quite a lot without leaving PPro. This has two major advantages. First, if you aren't using AE for anything else, it gets you out of using AE at all, so gets you out of climbing another set of learning curves.
Second, even if you are using AE for other things (I use AE to make motion lower thirds, for example), doing the work in PPro can improve exporting speeds. This is because AE gets restricted to a single processor core in some workflows as discussed in this thread and others (search around if you're interested). This can make exporting take 3x as long or longer, depending on how much footage has to be processed by AE.
So, how to do color correction without leaving PPro? Use either a luma corrector or luma curve effect to set black and white points, and contrast (use a waveform monitor to help). Then use a three way color corrector effect to get rid of any residual color casts (use the vectorscope to help, and the RGB parade, etc.).
If you find you have specific colors that need to be fixed, you can apply another three way color correction effect and use it to make that secondary color correction (for example I find the blue dyes used in many labels tend to fluoresce under fluorescent lighting, and has to be desaturated with a secondary color correction or it "blooms" on an HDTV -- IOW, it has to be made "broadcast safe").
If you want tutorials for using these tools, the ones on Creative Cow by Andrew Devis are quite good, and free. The ones on color correction with PPro cs6 start at tutorial number 47. There's a bunch of them. All good.
Finally, get a copy of Van Hurkman's Color Correction Handbook. May be the best technical book I've ever read, and it'll certainly point you in the right direction for doing color correction work regardless of which tools you use to do it.

Is it possible to render the clips individually and relink- such as with Color/fcp?

I'm fairly new to Ae/ PP, and am trying to figure out a good workflow for grading (using resolve lite) Basically, I need to denoise my footage first (neat video) and then send that footage to Resolve, then back to pp. Now, this works fine with Resolve's scene detector as it can cut up the footage, but if there are any dissolves, etc, then I need to do this via xml instead.
What I would like to do is: Edit in PP. Send to AE to denoise, render (the denoise need to happen before grading) and replace the original files with the new denoised clips in pp. Then send the xml to Resolve. So far this would work if it wasn't for AE rendering everything into one clip, eliminating the cuts/layers.
Is it possible to render the clips individually and relink- such as with Color/fcp? If not, any other workflow that could work for me?
Hope someone can help- dynamic link is driving me up the wall.

Simply use Dynamic Link to send your whole timeline to AE or use AE's Premiere project import. Then once you have a working AE project, you can use scripts like rdPreCompose to create separate sub-comps for each clip which in turn you then can render separately. Still, the limitation will always be the kind of transitions you use. Essentialyl you should avoid anything that isn't a hard cut or simple cross dissolve 'cos there's no way to recreate it in AE without eating up the handle of your footage. You'd essentialyl be shooting yourself in teh foot if you jump ahead too far in Premiere and already add too much finishing there.
Mylenium

Workflow with DNG/Proxies at Premiere to AE

Hi guys
Sorry for my English. What's the problem - How to organize available workflow with dng?
I work with DNG sequences, I do a proxy in AE. I edit of these proxies in Premiere. Then import of the project to AE for color grading, vfx and others. But for this purpose I need to replace a proxy with DNG originals. I am able to do it through Replace Footage - and it isn't so difficult, but there is an opportunity somehow to automate process?

Ok thanks, that helps me quite a bit. The footage is all numbered sequentially so Im not mixing it up (9x1 hour blocks), but the framerates could be causing the problem. If the imported footage is HD 1440x1080 @ 25fps in Premiere, I have created a new project also set at HDV1080i 25 (50i) and imported the timeline. I then save this and import to AE, but am still getting the same problem. I know that Ive done the process backwards (premiere then AE), but out of curiosity, can you yourself get premiere transitions to work in AE? Cause I might ask adobe for new install discs if you can.
Cheers
David

Much faster SpeedGrade workflow with new 7.1 update

Thanks Adobe team, with this new upgrade, it is much easier to open Premiere Pro timelines in SpeedGrade and get started.
Ever since SpeedGrade came out, I always considered it as a great tool for the future, but never felt it was "ready" until this new 7.1 upgrade. It has always been a very powerful colour grading tool, but you had to convert your video files which would take forever on my computer. I tried converting a 2 minute video in the beginning, and it gave me an 8 hour estimate, so I just clicked cancelled.
Thankfully Adobe fixed that, and you can now natively open Adobe Premiere Pro timelines right into Adobe SpeedGrade, and skip the conversion. It now takes a few seconds to open a timeline in SpeedGrade, and about 2 seconds to save the results once you're done. After that, you're all set to open Adobe Premiere and compose the output of your video.
This gives you quick and easy access to a very powerful color correction tool, and is included in the Adobe Creative Cloud membership.
In this video, I show the new and improved workflow for Adobe SpeedGrade which now allows you to very quickly color grade your projects to improve the colours.
http://www.studiojpic.com/adobe-speedgrade-cc-7-1-new-and-improved-workflow-with-october-2 013-update/

Yeah, I'm just going to go ahead and agree with you guys on this.
Super easy workflow. No workarounds or anything. And you don't have to have a ridiculously spec'd system to playback your footage! It almost feels like I'm cheating.
Don't get me wrong, there are still a ton of things I have on the wishlist (curves, interface options, better scopes, better tracking for masks), but this was the HUGE number one item. I'm sure everything else will improve in time. It's just great to see that Patrick and his team are working hard to make these improvements for all of us.

Photoshop: Making a text box with color or border.

How do you fill a text box in Photoshop?
Answer: You CAN’T.
Solution: You CAN do anything you want in Photoshop -we know it’s GREAT - but the steps are not always so easy. See below for solutions to making it seem that the text box is filled with color, bordered, semi-tansparent etc.
In Photoshop, a text box is mostly about the text inside and less about the box that surrounds it. In other words, the box is always transparent and all effects apply to the font shapes typed inside by the user. Photoshop (CS4) can produce incredible, professional, amazing text images. No Doubt About It!
A Photoshop text box can display one of two types of bounding boxes:
Its OBJECT bounding box is there for moving the whole text layer, rotating it, duplicating it and distorting. Clicking once on the text layer pallet and selecting the move tool (v) will produce this bounding box. The direct selection tool (a) won’t recognize it. Note: If you try to resize the box as an object, it also distorts/stretches the text inside. This can make cool effects but usually you want the text to stay the way the font was designed. See: Layers>Type>Warp Text.
The TEXT bounding box is there for highlighting, re-typing and selecting the margins of the actual text/paragraph etc. Selecting the text tool and clicking over existing text will produce this bounding box.
Some features are accessible in either mode.
The Photoshop text tool has two types of cursors:
The NEW text box cursor looks like a text insertion cursor (often seen in word processing) WITH a dotted box around it.
To produce the new text box cursor just select the text tool and move over to a new work area.
The EDIT text cursor looks very much like the ordinary cursor people are familiar with (no dotted box).
To produce the edit text tool, hover the text tool over EXISTING text and the cursor changes to the simple insertion shape (without the dotted box). A click now will put you into text editing mode, not new text box mode. This drove me batty for a while because I was used to clicking anywhere inside an existing text box and the blinking cursor would pop in automatically - usually at the end of the last letter. This doesn’t happen in Photoshop; if that NEW text box tool is active, it will try to place a new box anywhere you click sometimes overlapping another.
When in this mode (edit existing text) you can carefully hover the arrow to the edges of the text box and resize the bounding box without altering the shape of the text itself. This is how you make the text box larger or smaller to fit/accommodate your needs. You can also highlight text, insert between words/letters. Highlighted text is available for changing its font, color, size, cutting/pasting etc.
To get OUT of the EDIT text mode, click the check box on the tool column above or type enter (not return) or type cmd-return (MAC), ctrl-return (WIN). If you want to cancel any changes to an existing text box click the ex-circle on the tool column or press the esc key (top left of keyboard-escape key)
OK, THE MAIN POINT:
To make an effect that looks like a text box that is filled, bordered, semi-transparent etc., you will have to create an object shape (box) and place it just behind (under) the text box. Linking the two allows you to move them around easily. The drawback is that, when you need a larger box, you’ll have to alter the size of both boxes and possibly re-center them to each other (I know it’s sort of dumb to have so many steps just to get a shaded text box or bordered one.)
Begin by selecting the Rectangle shape tool and draw a shape on the screen of any size. In the layers pallet a layer is created with two items (layer thumbnail and vector mask) Double click the one on the left the layer thumbnail). Change its color to a light one such as baby blue or yellow.
Now select the text tool and click once over that shape. A text box is created exactly the same size of the rectangle (any shape will work too).
Type some text into that box and change the font type, size and color to something you might use regularly. Check to see that the text color is black (can be changed later). The text automatically wraps around when you reach the edge of this box and fits well (inside margins can be altered by pixel later).
Now link the two boxes to one another. Shift-click each layer in the layers pallet to select both and choose the link button at the bottom of the window for layers or go to Layers>Link Layers. Now when you move one it will move the other too!
Using the paragraph tools you can center text, indent first line, and add space between paragraphs. Except the first paragraph seems too close to the top of the colored rectangle; doesn’t it? Photoshop won’t add extra leading (horizontal space) between the text box and the top of the first paragraph.
There are two ways to fix this:
1.     Select the text tool and click inside the existing text then hover the pointer just above the little box/tab in the top center of that rectangle and bring it down just a bit.
2.     Or you could unlink the two layers (to unlink just click link again while one of the two layers is selected in pallet) and move the colored rectangle up just a bit.
In the first instance it was not necessary to unlink the boxes. This is the advantage because altering the colored rectangle without unlinking will distort your text as will altering the text box if you are not in object text mode (see intro.)
Ok, some advantages:
Now that you have this set up you can use the background box (colored rectangle) to make other effects. Select it as a separate layer but you won’t have to unlink it. To make the box semi-transparent change either the layer OPACITY or the layer FILL (found in the layer pallet).
To create a border box:
1.     Select the colored rectangle box and under Layers>Styles>Blending Options (or just double click in an open area of the layer pallet for that shape.)
2.     Select Stroke, change: Fill Type color, Color black, Size 4, Position inside, Blend Mode normal, Opacity 100%. Click OK/Apply
3.     Back in the layer pallet, change the Fill to 0% and you will just have a border with attached text box. You may have to alter the inside text box again depending on the thickness of that border especially if you made the Position to be inside to keep the sharpness of the rectangle.
4.     Yes this will work with other shapes and even custom shapes. Remember to draw the shape first and immediately place a new text box over it BEFORE any other alteration is done. This ensures that Photoshop creates a text box exactly the same size/dimension of your chosen shape. It even makes margins fit irregular shapes like triangles.
5.     Try it!

Toxic Cumquat wrote:
How do you fill a text box in Photoshop?
Answer: You CAN’T.
Solution: You CAN do anything you want in Photoshop -we know it’s GREAT - but the steps are not always so easy. See below for solutions to making it seem that the text box is filled with color, bordered, semi-tansparent etc.
In Photoshop, a text box is mostly about the text inside and less about the box that surrounds it. In other words, the box is always transparent and all effects apply to the font shapes typed inside by the user. Photoshop (CS4) can produce incredible, professional, amazing text images. No Doubt About It!
A Photoshop text box can display one of two types of bounding boxes:
Its OBJECT bounding box is there for moving the whole text layer, rotating it, duplicating it and distorting. Clicking once on the text layer pallet and selecting the move tool (v) will produce this bounding box. The direct selection tool (a) won’t recognize it. Note: If you try to resize the box as an object, it also distorts/stretches the text inside. This can make cool effects but usually you want the text to stay the way the font was designed. See: Layers>Type>Warp Text.
The TEXT bounding box is there for highlighting, re-typing and selecting the margins of the actual text/paragraph etc. Selecting the text tool and clicking over existing text will produce this bounding box.
Some features are accessible in either mode.
The Photoshop text tool has two types of cursors:
The NEW text box cursor looks like a text insertion cursor (often seen in word processing) WITH a dotted box around it.
To produce the new text box cursor just select the text tool and move over to a new work area.
The EDIT text cursor looks very much like the ordinary cursor people are familiar with (no dotted box).
To produce the edit text tool, hover the text tool over EXISTING text and the cursor changes to the simple insertion shape (without the dotted box). A click now will put you into text editing mode, not new text box mode. This drove me batty for a while because I was used to clicking anywhere inside an existing text box and the blinking cursor would pop in automatically - usually at the end of the last letter. This doesn’t happen in Photoshop; if that NEW text box tool is active, it will try to place a new box anywhere you click sometimes overlapping another.
When in this mode (edit existing text) you can carefully hover the arrow to the edges of the text box and resize the bounding box without altering the shape of the text itself. This is how you make the text box larger or smaller to fit/accommodate your needs. You can also highlight text, insert between words/letters. Highlighted text is available for changing its font, color, size, cutting/pasting etc.
To get OUT of the EDIT text mode, click the check box on the tool column above or type enter (not return) or type cmd-return (MAC), ctrl-return (WIN). If you want to cancel any changes to an existing text box click the ex-circle on the tool column or press the esc key (top left of keyboard-escape key)
OK, THE MAIN POINT:
To make an effect that looks like a text box that is filled, bordered, semi-transparent etc., you will have to create an object shape (box) and place it just behind (under) the text box. Linking the two allows you to move them around easily. The drawback is that, when you need a larger box, you’ll have to alter the size of both boxes and possibly re-center them to each other (I know it’s sort of dumb to have so many steps just to get a shaded text box or bordered one.)
Begin by selecting the Rectangle shape tool and draw a shape on the screen of any size. In the layers pallet a layer is created with two items (layer thumbnail and vector mask) Double click the one on the left the layer thumbnail). Change its color to a light one such as baby blue or yellow.
Now select the text tool and click once over that shape. A text box is created exactly the same size of the rectangle (any shape will work too).
Type some text into that box and change the font type, size and color to something you might use regularly. Check to see that the text color is black (can be changed later). The text automatically wraps around when you reach the edge of this box and fits well (inside margins can be altered by pixel later).
Now link the two boxes to one another. Shift-click each layer in the layers pallet to select both and choose the link button at the bottom of the window for layers or go to Layers>Link Layers. Now when you move one it will move the other too!
Using the paragraph tools you can center text, indent first line, and add space between paragraphs. Except the first paragraph seems too close to the top of the colored rectangle; doesn’t it? Photoshop won’t add extra leading (horizontal space) between the text box and the top of the first paragraph.
There are two ways to fix this:
1.     Select the text tool and click inside the existing text then hover the pointer just above the little box/tab in the top center of that rectangle and bring it down just a bit.
2.     Or you could unlink the two layers (to unlink just click link again while one of the two layers is selected in pallet) and move the colored rectangle up just a bit.
In the first instance it was not necessary to unlink the boxes. This is the advantage because altering the colored rectangle without unlinking will distort your text as will altering the text box if you are not in object text mode (see intro.)
Ok, some advantages:
Now that you have this set up you can use the background box (colored rectangle) to make other effects. Select it as a separate layer but you won’t have to unlink it. To make the box semi-transparent change either the layer OPACITY or the layer FILL (found in the layer pallet).
To create a border box:
1.     Select the colored rectangle box and under Layers>Styles>Blending Options (or just double click in an open area of the layer pallet for that shape.)
2.     Select Stroke, change: Fill Type color, Color black, Size 4, Position inside, Blend Mode normal, Opacity 100%. Click OK/Apply
3.     Back in the layer pallet, change the Fill to 0% and you will just have a border with attached text box. You may have to alter the inside text box again depending on the thickness of that border especially if you made the Position to be inside to keep the sharpness of the rectangle.
4.     Yes this will work with other shapes and even custom shapes. Remember to draw the shape first and immediately place a new text box over it BEFORE any other alteration is done. This ensures that Photoshop creates a text box exactly the same size/dimension of your chosen shape. It even makes margins fit irregular shapes like triangles.
5.     Try it! Or try using Indesign!
There. I fixed that for you.

Screen hungs with color mess.

Hello.
I had issue with mac macbook pro mid 2010.
https://discussions.apple.com/message/21177190#21177190
Then i took it to the Apple Authorized Service Provider, they help it for almost 2 months then gave it me back.
It is my working computer, and i work with 2 displays.
Everything was fine i used it with external display for about 6 months, no issues.
But after we moved to another office, i had to use it without additional display and strange things start to happen.
The screen started to freeze randomly with colors and pictures messed. I am attaching screenshot how it looks like.
But when i plug external screen and use both (macbooks integrated + external) - no issues, everuthing works just fine, unplug, and it happens again. Must be something with video card again i suppose.
I called to Service back they said it is too late to fix this for free. 6 months passed.
But this issue never happened before first repair in service, macbook used to restart. Now the screen hangs...
I though reinstalling os would help. Erased hdd, and installed new Maveric, no luck. Just the same.
What should i do?

I noticed that pictures with display anomalies are not diplaying...
One more try to upload it.

Populating the screen area with color

Please help me
how could i populate the screen area with color based on the x,y position values getting from the database table
x,y positions are saved in the database already i want to use those values

Do you mean if x is 200 and y is 300 then you want a color like 0x200300?

IPod with Color will not connect to G5

I recently bought a used iPod with Color display with a 60 GB drive for use in the car. I have a BMW with the cable that accommodates an iPod. I plugged it into the G5 with all my music on it and.... nothing.
I tried plugging it into my work PC and it connected. Then I went over to my daughter's new iMac and it connected perfectly. While I was there, I decided to "restore" the iPod since it was used and I was not sure what might have been on it previously. Restore went great.
Went over to my G5 and plugged it in. This is when it gets weird. As many of you know the G5 has three USB ports. One conveniently located in front and two in back. Obviously my first try was the one in front...... again, nothing. So I tried the two in back. The top one gave me..... nothing. But the bottom one seemed to like the iPod and it connected. I gave the iPod a new name and merrily started loading it up with music. I got 4 or 5GB worth onto it when all of a sudden I got the dreaded "Device Removal" warning.
I sort of froze and wondered what to do next. Since I had already gotten the "Device removal" warning I decided that unplugging it would be ok. So I did so and wait a few minutes before connecting the iPod once more. It connected alright but now I got a message saying that "iTunes cannot read the content of iPod "iPod Color". Go to summary tab in iPod preferences and click Restore to restore this iPod to factory settings".
So I click OK and look at the summary. The iPod is listed on the left under devices but now the name is displayed simply as "iPod" and not iPod Color as I had named it. Capacity is n/a (can't read it) and software version is shown as 1.2.1. Serial number is also listed. I hadn't transferred much music onto it yet so I decided to just go ahead and restore it.
I got the "Are you sure you want to restore the iPod.." message and I click "restore". At this moment nothing happens for about 2 minutes. iTunes is frozen and then I get a message that pops up and says, "The iPod "iPod" (note the wrong name) could not be restored because it could not be found". I click ok, I unmount the iPod and here we sit.
I have tried this over and over several times on this G5 with EXACTLY the same results. I have tried two other cables and we get the same thing. I also tried restarting the G5 with the iPod plugged into the USB port that works and got the same thing with one minor variation. When I went to restore the iPod this time, it actually started the process. We got the blue horizontal barber shop pole and I really though we had a break through, but after about 15 seconds I got the message that "The iPod "iPod" (still the wrong name) could not be restored because it could not be found.
I'm not quite sure what to try next. I can't decide if the problem is with the OS (USB ports not all working) iTunes itself (maybe I can install a different version?) of the iPod. The iPod by the way was sold to me by a guy on eBay who reconditions the devices. He seems pretty competent so I think the iPod itself is in good working order.
Anyone have any suggestions? I appreciate your ideas.
John

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Well after pick away at this problem for a few weeks (alone) I think I have solved the problem. Through my countless iterations of trying every combination of plugging and unplugging various USB devices in various USB ports, I realized that the one combination I had not tried was unplugging EVERY device from the G5 itself including the keyboard. But wait, I need the keyboard to input text into the computer don't I? I had completely forgotten that there are two USB ports on the back of my Apple monitor. So I plugged the keyboard into the port on the monitor and guess what? The G5 not only recognized the iPod but allowed me to restore factory settings and actually sych it with iTunes.
So, what I learned is that this G5 will not work with this 60 GB iPod with Color screen unless it is the ONLY USB device plugged into tone of the three USB ports. Right - I am sure the Apple Engineers view this as a "feature". Shyaa - right!
Well, it not idea but at least it works. It's pain to unplug every other USB device when you want to sych your iPod but I suppose that's the price we pay.
Is the question answered? No, not really. I still don't know if it's a hardware problem, an OSX problem, or an iPod problem. My guess is that since it's a G5 running a Power PC chip, the fellas at Apple won't give this a second look.

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I need help with color pallette in iPhoto 11. I have created a book and would like to use a different color background than those given in "background." I have found the color palettes but can't seem to incorporate them into my backgrounds palette.

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Additionally I have no idea what you are saying here
I have found the color palettes but can't seem to incorporate them into my backgrounds palette.
And it always helps for you to dientify the version of iPhoto that you are using
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