How to adjust black levels

I have a XBR65X930C Sony and am struggling with the black parts of the picture. The entire picture is pretty dark since I put it in cinema mode and the black portion of the screen is just that, black. No detail. Can youi tell me which attibutes to change?

I guess it depends on what element of the picture you want to control. I have a XBR-55X850C. I believe that the UI and settings are similar, but there may be some differences.
Personally, I use a preset as a starting point, and then I'll go from there, either changing settings, or going to the 'Custom' setting, and start filling out the settings similar to another preset, making adjustments to taste along the way.
These are found under Picture Adjustments > Advanced Settings. In here, the category you should focus on is Brightness.
Your concern is that areas that are black are too deep of a black to your liking, and showing no detail correct?
You may want to tinker with some of the following
Contrast - Maybe mess around with this, sometimes a higher/lower contrast can help differentiate smaller differences in lighting.
Black Level - I believe this simply adjusts how deep the blacks are on the picture.
Under that there are some setting specific to the higher end models like yours. The X-tended Dynamic Range setting is closely tied to how blacks look. Maybe you want to lower that to make the blacks less deep.
I wouldnt worry too much about the 'Brightness' setting as I believe thats how bright the LED lights are (similar to brightness on a smartphone), and don't actually change the picture at all.
This may be a good resource for you too: http://www.rtings.com/tv/reviews/by-brand/sony/x930c/settings

Similar Messages

How to adjust line level input?

Anybody know how to adjust the input level of my 1/8" input? Everything's coming in too hot.

Man I just posted that - did you actually read it??
Create an Input object in your environment.
Open environment (command+8)->New->Channel Strip->Input
Then just turn the slider in your Input object down by some dB.
I forgot to say: Then insert a Gain Plug In from the Utility folder into your Input object and turn down the gain to your liking. Sorry for the confusion...
Message was edited by: Sampleconstruct

How to adjust audio level on timeline?

Hi,
I want to adjust the audio level using the pen tool on an audio track of the timeline... and I've done it before, but I can't for the life of me remember how. I've imported a voiceover, and have a separate track with the background music. How do I adjust the music level up/down at the point where the narration kicks in/out?
Thanks very much!
Vic

Click on the Clip Overlays button (the zig-zag line at the bottom left of the Timeline window). That will give you a pink line in the middle of your audio tracks where you can use the pen tool.

Capture Audio through USB interface - How to adjust input level?

My USB turntable offers Line In and USB in order to connect it to my iMac. I would prefer USB but there is no way to adjust the input level. This only seems to be possible with Line In. Is this correct or is there anything I should know?

The only way to change levels with an A/D audio interface is BEFORE the analog/digital conversion.
If your turntable outputs USB (a digital connection), then the A/D stage is within the turntable, and any level adjustment will have taken place within there (I'm betting there's a level adjustment trimpot somewhere inside if you can't see any knobs from the outside).
This shouldn't be a problem, though, because the maximum levels a vinyl LP can produce are limited by groove spacing and the sheer amount of vibration the needle can take before jumping out of the groove. The turntable will have been adjusted for this at the factory (I'd assume), so you can safely use the USB out - the turntable's A/D stage is bound to sound better than the $1.50 A/D-D/A chip built into the computer.

After adjusting the levels in a file the changes don't stay. How do I fix this?

Hello helpful people,
I'm running Photoshop CS5 on an iMac. I started with a scanned tiff that was emailed to me, a black on white ink drawing. I changed it from a tiff to a greyscale image and saved as psd, then converted it to RBG 8bit. When I open the psd file I see that it's in RBG 8 bit and there's no asterisk (*) by the file name, so my work space and file are compatible. I tried to adjust the layers to dull the black lines in the drawing, and although I can see the changes in preview, the corrections don't stay and the image reverts back to the original bold, black lines. I decided to change my background layer to a regular layer and make the edits there. However, when I change my background layer by unlocking it and changing the name, I notice that my file suddenly has an asterisk (*) after the name and my same attempts to change the levels aren't working. I'm not entirely sure if it's a compatibility issue with the work space, a file extension issue (psd), or something all together unknown to me. Any direction on how to adjust the levels so that my changes stay would be much appreciated - and furthermore, any advice on how to keep my files and work space in sync would also be helpful. Thank you. If it helps to know, I'm in painting mode within photoshop, which isn't my regular setting, but I thought it would help since I want to add color to this black an white drawing.
Sincerely,
LauraMay

Zoom in to 100% before judging the quality of your adjustments on high contrast or noisy images.
While zoomed out, you're seeing a preview applied to the down sampled (averaged) pixels.

How to adjust volume on Audio Timelines

A couple questions about volume adjustment on the various Audio Timelines on Premiere Pro CS 5.
1) How to adjust volume level of an mp3 on the Audio 2 timeline?
2) How to adjust or mute volume of an 'individual' video clip on the Video 1 and Audio 1 timeline? (I have many clips on the timeline and know how to mute them all, but in this case, I'm looking to only mute certain clips in the timeline.)

Along with the material covered in the Help File, that Ann linked to, see this ARTICLE. It goes into a little more detail on the differences between Clip Keyframes and Track Keyframes (generated with Audio Mixer). While the effect of those can be the same, there are nuances, that one should make note of.
Good luck,
Hunt

Adjust audio levels between keyframes

Hello,
What is the shortcut to adjust audio levels between keyframes (in sequence)? I know the shortcut CTRL ] [ , but this shortcut adjust audio level for entire audio.
I also know I can drag up and down the levels between keyframes using mouse. But some months ago I saw a tip ( from Steve martin) showing
how to adjust audio levels between keyframes using a shortcut..and better,in RT. but I forgot what is the shortcut.
thx

there is no shortcut command for this in FCP, you need to use the mouse to drag the audio level up or down
perhaps its another application your thinking of?

How do I adjust the levels of multiple images at once?

CS6 user, I recently scanned a few pages of an old black and white comic, which thanks to the passage of time are now more black and beige.
I know how to adjust levels using the eyedropper tool but is there a way to apply the same effect to several images in one go (i.e. adjust the levels of one image then apply the same effect to the others as a batch of files), rather than pressing ctrl+alt+l and saving each image individually?
Thanks

You can also select all of the images in bridge, go to Tools, Photoshop, Load files into layers. Then select all layers, put them into a group (Cmd G), add layer mask to the group and do the levels there.

How do I adjust audio levels at various points on timeline??

How do I make volume level adjustments in a single clip on the FCP-X timeline? I have a music bed and need to adjust audio levels at various points in the song. In past Final Cut programs. This should be very easy but I can't find how to do it in Final Cut Pro-X. I don't want to adjust the entire clip.
Also, I recorded voice on channel 2 and shot gun on channel 1. I only want the voice (channel 2). How can I select a individual channel once I have edited the piece. I know I can re-import the video and designate which channel to bring in but I don't want to have to do that.
Thanks!!

Select a range and lower the level, or hold the Option key to click on the level line to add a keyframe.

IMAQ vision acquisition does auto white/black level adjustment

Hi,
I am using IMAQ Vision to capture RS170 video from a device we manufacture. I have noticed that the white/black levels seem to be "adjusted" automatically for each image acquisition I make. I would like to turn this feature off, but cannot find a method to do this. Can anyone point me in the right direction?
Thanks,
Howard Spec
CMC Electronics
Canada

Hi Howard,
It sounds like you are turning on the auto exposure before each acquisition. Are you performing these acquisitions in LabVIEW? If so, you may be programmatically setting the white and black reference levels. This is done in the shipping example HL Analog Attributes.vi. Try performing the acquisitions in Measurement and Automation Explorer (MAX). If you hit the Auto Exposure button in MAX before each snap/grab, you should see this behavior, otherwise you shouldn’t.
Christopher M.
Applications Engineer
National Instruments

SAPScript: how tu adjust heigh and width of standard text (logo)?

Hi!
how to adjust heigh and width of standard text (logo)?
I do not want to edit the logo, because it is used elsewhere, so I need to adjust heigh and width when using it in a form.
For now stadard text comes over the window. Here is how I use it:
INCLUDE ZHEX-LOGO OBJECT TEXT ID ST
Will reward,
Mindaugas

Hi Mindaugas,
While uploading using RSTXLDMC. You have to maintain your size of the logo.
Go through below mentioned document.
Upload TIFF files to SAPscript texts
Description
The report RSTXLDMC allows a TIFF graphics file to be uploaded from the file system of the R/3 GUI to a standard text in the R/3 word processor SAPscript. (TIFF is a registered trademark of the Aldus Corporation.)
When uploading, the TIFF graphic is converted either into a black and white raster image (parameter type=BMON ) or as a color raster image with a maximum of 256 colors (parameter type=BCOL).
The black and white raster images ( BMON) can be printed using the following printer types:
PCL-5 printer
PostScript printer
Kyocera PRESCRIBE printer
Device type SAPWIN (with SAPlpd 32-bit as of Version 2.41 for Windows NT or Windows 95)
The color raster images (BCOL) can be printed using the following printer types:
PCL-5 printer with color capability (e.g. HP Color LaserJet). Color graphics are not printed properly on monochrome PCL-5 printers (e.g. HP LaserJet 5), because the printer cannot set the color palette as required and does not perform any gray-level conversion.
PostScript printer (color graphics are automatically converted to gray levels on black and white printers using PostScript) Device type SAPWIN (with SAPlpd 32-bit as of Version 2.41 for Windows NT or Windows 95) During TIFF graphic import, the basic set " Baseline TIFF 6.0 " of the TIFF specification 6.0 is supported.
To maintain compatibility with earlier versions of the report RSTXLDMC, it is also possible to convert the TIFF graphic directly into a black and white raster image for a particular printer type when uploading. These are the three printer types PCL-5 (parameter type=PCL ), PostScript (parameter type=POST) and Kyocera PRESCRIBE (parameter type=PRES ). A raster image uploaded in this manner can only be printed using the appropriate printer type.
Besides TIFF raster graphics, direct printer commands in the respective printer language (PCL-5, PostScript or Prescribe) can also be contained in the file which is to be uploaded (printer macros). They are then transferred to the standard text unmodified.
The graphics are output by inserting the standard text into the document which is to be printed, directly or using an INCLUDE command. The printer commands, which for example draw a company logo on the page, are only output if the print request is processed by the printer driver corresponding to the macro type, otherwise they are ignored. Example: A macro of type PCL is contained in a print request. If the request is output to a printer with type HPLJIIID (to which the driver HPL2 is assigned), the macro data is sent to the printer. If the request is printed on a printer of type POSTSCPT (to which the driver POST is assigned), the output of the macro data is suppressed.
In the standard text, the printer commands are inserted between the HEX ... ENDHEX command lines in hex notation. Various report parameters allow the graphic or printer macro to be placed on the page or at the current text position. Note: When the /:HEX command line which precedes the macro appears in the text, a line break is generally made before the graphic is output. The output of the macro therefore begins in the next text line at the left window border of the current page window, as long as a shift to the right is not specified (see below).
If your own printer macros are uploaded and not TIFF files, you must ensure yourself that the normal (text) output of the driver is not impaired when the printer commands are inserted in the output from the uploaded file. The printer drivers pass the data contained in the file to the printer unmodified, therefore without control over the individual actions this triggers on the printer. For example, syntax errors should not be generated by the PostScript commands (type POST), or form feeds should not be contained in the file (unless this was intended) for PCL-5 (type PCL).
Restrictions:
In general, the output of graphics generated via RSTXLDMC from R/3 is not suitable for mass printing (that is, unless you are using the "Graphic resident on printer" feature): the R/3 spooler has to hold significantly more data in its output files. If the graphics occur several times in a spool request, the data also reoccurs. Apart from this, the network is more heavily loaded in sending the increased volume of data to the printer and the printer output is slowed significantly (varies according to printer model) if raster graphics are output as well as the text.
If your graphics reside on your printer during a printing job, the degree of 'correctness' with which they are printed depends on the amount of memory available in your printer. R/3 print drivers are unable to determine whether the amount of memory available is enough! If one of the graphics that you have marked as resident is not displayed, try reloading the graphic and switching off the parameter "Graphic resident on printer".
When printing black and white graphics on PCL-5 printers, image data is compressed in order to greatly reduce the file size.
The output of graphics and macros on PCL-5 printers, PostScript printers and device type SAPWIN (type BMON, BCOL, PCL, POST) is adapted to the page orientation used, that is if landscape is used instead of portrait, the graphic is also turned when output. This is not the case for the PRESCRIBE printers (type BMON, PRES)! With these printers, the graphic is not automatically turned when landscape is used, but appears on the page in the identical position as for portrait. You are therefore recommended not to output raster images when printing in landscape on PRESCRIBE printers.
PRESCRIBE printers do not support the resolutions 200 and 600 dots per inch when printing raster images.
Not all PCL-5 compatible printers support the resolutions 200 and 600 dots per inch when printing raster images.
TIFF graphics with compression type 2 ("CCITT Group 3 1-Dimensional Modified Huffman run length encoding ") can currently not be imported although this is a component of the Baseline TIFF 6.0 specification for monochrome images.
Color TIFF graphics with full color representation (ie. a lot more than 256 colors) are automatically converted into 256 gray levels when uploading with type BCOL.
When TIFF graphics are converted to black and white raster images (type BMON, PCL, POST, PRES) there is no default simulation of gray levels or colors of the original image on the printer (for example, by using different tones of gray). Each pixel of the original image is converted to a white or black pixel on the printer according to its intensity value.
The parameter "Number of TIFF gray levels" does, however, allow a simulation of gray/colour tones of the original image through levels of gray on the printer, when using type PCL, POST or PRES. This parameter is ignored for type BMON.
The conversion of TIFF graphics can be so time-consuming that it is recommendable to execute the report RSTXLDMC in batch processing. Note: in batch, the file is always read from the file system of the application server (ie. not from the file system of the GUI).
The length of an individual text in the text file is limited. When importing TIFF graphics with very large dimensions, especially if more than 2 gray levels are used, a termination can therefore occur when saving the standard text ("EXPORT_TOO_MUCH_DATA"). This restriction can only be avoided by reducing the TIFF graphics. Note: The display of a raster image in Postscript or PRESCRIBE format needs from two to three times as much space as displaying in PCL-5.
When processing very large TIFF images on PostScript printers, a print termination can occur with PS error message "limitcheck". In this case the internal memory of the printer is insufficient to scale the required raster image. This implementation limit cannot be influenced by changing the report parameters when importing.
Requirement
The file which is to be uploaded can contain the following formats/ commands:
Baseline TIFF 6.0 raster image files. The image information of the TIFF file is converted into black and white/color raster images when uploading. Note: As the TIFF format allows a variety of variants, only a basic set of TIFF 6.0 formats is supported here described in the TIFF 6.0 specification as Baseline TIFF 6.0.
PCL : PCL-5, Hewlett Packard Printer Control Language 5 for HP LaserJet 3, 4, 5 series and compatible printers. The data is output by the printer driver HPL2 only.
PRES: Kyocera PRESCRIBE for Kyocera laser printers. The data is output by the printer driver PRES only.
POST: Adobe PostScript or EPS format (encapsulated PostScript ) for PostScript printers. The data is output by the printer driver POST only. In the upload, one of the end-of-file markers (CTRL-D, hex $04) which may be contained in the PostScript file is not transferred.
For PostScript files which contain a bounding box entry (for example, all EPS files) the macro/graphic can be scaled to a size specified by the user. In this case, a small lead text and trailer are generated by the report for the macro data and inserted in the standard text.
Parameters of RSTXLDMC
File name
Path and file name of the file to be uploaded in the file system of the R/3 frontend (dialog processing) or in the file system of the application server (batch processing)
Type
Way which the data contained in the file is to be converted. Possible values are BMON, BCOL, PCL, POST and PRES. With parameter values BMON and BCOL, a TIFF 6.0 file is expected. This is converted into either a black and white raster image (BMON) or a color raster image (BCOL). These raster images are printer-independent and can be printed using various printer types (see above).
With parameter values PCL, POST and PRES, either a TIFF 6.0 file or a file with printer commands in the appropriate printer langauge is expected. If the file is a TIFF file, it is converted into a black and white raster image for the printer type specified in the parameter. The presence of a TIFF file is recognized automatically. If the file is not a TIFF file, the file contents are regarded as the printer macro of the respective type. Data loaded with type PCL, POST or PRES can only be printed on the respective printer type.
Resolution for TIFF raster images
Resolution which should be used when importing a TIFF raster image, in dots per inch (dpi). If an allowed value is entered here, this overrides the resolution information in the TIFF file. The allowed values are:
75 dpi
100 dpi
150 dpi
200 dpi (not for type PRES, for PCL only HP LaserJet 4,5 series)
300 dpi
600 dpi (not for type PRES, for PCL only HP LaserJet 4,5 series)
Changing the resolution affects the size of the graphic on the printer. If a resolution of 300 dpi is stated in the TIFF file and this parameter is set to 75 dpi, the graphic is four times as big when printed as at the outset.
Note: Kyocera PRESCRIBE printers do not support 200 and 600 dpi resolutions.
Note: Not all PCL-5 printers support resolutions 200 and 600 dpi, for example HP LaserJet 3 series does not, but LaserJet 4 and 5 series do.
Graphic Resident on Printer
Normally, graphics that occur more than once in a printing job (a company logo that appears on each page, for example) are sent to the printer repeatedly each time they are needed. In order to avoid this kind of redundancy, you can select this checkbox on the selection screen. The R/3 print driver then stores the graphic in the printer's memory and the printer retrieves the 'resident' graphic memory every time that re-occurs in your job.
Caution: Whether or not the printer correctly reproduces the graphic depends on the amount of memory available in the printer during the printing job! You should avoid using this feature with color graphics since they take up a lot more memory than monochrome graphics.
This parameter can only be used with types "BMON" and "BCOL".
Absolute positioning
Determines whether the macro/graphic is positioned absolutely or is to be output at the current text position. If this checkbox is selected, the graphic is positioned absolutely (parameters "X-position" and "Y-position" are used), if this checkbox is not selected, the graphic is positioned at the current text position (parameters "Reserved height" and "Shift to right" are used)
Absolute X-position
Horizontal position (space from left border) of the macro/graphic, if absolute positioning is required. This is the parameter XPOS of the HEX command.
Absolute Y-position
Vertical position (space from upper border) of the macro/graphic, if absolute positioning is required. This is the parameter YPOS of the HEX command.
Reserve height automatically
If this checkbox is selected, the system automatically inserts the actual height of the graphic during printing into the subsequent "Reserved height" parameter.
Reserved height
If positioned at the current text position, this parameter specifies the horizontal spacing to be reserved for the macro/graphic, which must not be printed with text from the paragraph. This is the parameter HEIGHT of the HEX command.
Shift to right
If positioned at the current text position, this parameter specifies the space between the left border of the macro/graphic and the left border of the page window. If this value is increased, the macro/graphic is shifted to the right. This is the parameter LEFT of the HEX command.
Unit of measurement for positioning
The unit of measurement in which the position values (X,Y, height, shift) are specified. Possible values are CM (centimeters), MM (millimeters), IN (inches), PT (typographic point = 1/72 inch), TW (1/20 point = 1/1440 inch)
Text title
Comment used for the attribute "Title" of the standard text generated as well as as a comment line in the text itself
Line width
Number of columns to be used in the standard text when generating the HEX...ENDHEX command lines. The default value is 132
Text name
Name of the standard text to be generated. If an * character occurs in the name, it is replaced by the value of the parameter "Printer type". For example, if the entry is ZHEX-IMAGE1-* and the printer type = PCL, the text name ZHEX-IMAGE1-PCL is generated. The default value for the name is ZHEX-MACRO-<printer type>, but the standard text can be named as required (take into account customer reserve). Standard texts are client-dependent!
Note: The name of a standard text can be up to 32 characters long !
Text ID
ID of the standard text to be generated. The default value is ST (general standard texts)
Text language
Language key of the standard text to be generated. The default value is the logon language
PostScript scaling
Flag which determines how the macros/graphics of type POST are handled. If set to 'X', the report expects a PostScript comment line in the file
%%BoundingBox llx lly urx ury (e.g. %%BoundingBox -1.5 0 21.4 14.1)
as present, for example, in all EPS files, in which the dimensions and the position of the macro/graphic are specified (if a bounding box comment is not included, 0 0 1 1 is assumed as the default value). This information is then used by the report to insert PostScript commands which scale the macro/graphic to the size specified in the parameters "Width" and "Height" (listed below).
If the flag is set to ' ' (blank), the PostScript file is transferred to the standard text without any additions (any transformations to the coordinate system used by the printer driver must already be contained in the file).
The flag must be set to 'X' for the import of TIFF files for type POST.
Width according to PS scaling
Required width of the macro/graphic if the flag PostScript scaling is set. Can remain at zero for the import of TIFF files, the size is then determined by the resolution of the graphic.
Height according to PS scaling
Required height of the macro/graphic if the flag PostScript scaling is set. Can remain at zero for the import of TIFF files, the size is then determined by the resolution of the graphic.
If you want to scale the PostScript graphic with these parameters, one of the two values, width or height, can be specified with zero. The graphic is then scaled so that the width-to-height ratio remains unchanged and the original graphic is not distorted.
Unit of measurement for PS scaling
Unit of measurement in which the parameters "Width" and "Height" are specified. Possible values are CM (centimeters), MM (millimeters), IN (inches), PT (typographic point = 1/72 inch), TW (1/20 point = 1/1440 inch)
Number of TIFF gray levels
Number of gray tones which are to be used on the printer for displaying the original image. Note: This parameter is only evaluated when using types PCL, POST or PRES!
Possible values are 2,4,9. With the default value 2, each pixel of the original image is converted either to a white or a black pixel on the printer. With the value 4, each pixel of the original image is converted on the printer with 4 pixels, which simulate 4 different gray levels. With the value 9, each pixel of the original image is converted on the printer with 9 pixels which simulate 9 different gray levels.
Note: With values 4 or 9 the resolution of the image is doubled or tripled. The restrictions on the possible resolutions (see previous parameter) then apply for the resulting resolution.
Output
Individual steps of the upload procedure are logged in the report list generated and, if necessary, errors reported. The uploading of TIFF graphics, in particular, is cancelled if there is a variant which is not supported. A message to this effect is then issued. If execution is successful, the report generates a standard text with the key specified in the parameters. If the standard text already exists, a window appears with a warning before the text is overwritten.
Regards,
Ameer Baba.

Black levels and exporting

Hey there-
When I export anything through render cue using Lossless, Lossless with alpha or Custom Quicktime the black levels of the rendered file are 5-10 units high regardless of the program that I use to open it. I'm exporting to a local hard drive and not a server. I'm using After Effects CS6 and Final Cut Pro 7.0.3 on a Mac. The export settings in After Effects are the same as others in my office and no one else seems to have this problem.
Thanks for your time.

By “units” I mean pedestal units on a wave form monitor. Final Cut has a wave form/vector scope feature. The apps that I use do not have features to adjust gamma, video levels or pedestal. I'm not using color management. I've tried importing raw video (uncompressed Sony XPCAM) and Quicktime files from different sources, adding them to the timeline and exporting them without applying anything at all. The codecs that the files are being exported to are animation and timecode. As far as monitor calibration, everything with the exception of exported After Effects files looks normal in Final Cut Pro. (blacks have definition but are not washed out, whites and colors look normal). Could it possibly have something to do with how the files are being imported?

Data below black level 0 in h264 mp4 files.

I'm a little confused about black and white levels in video.
I have two questions. If you bare with me for a second I can demonstrate what I mean.
I created gradient with values from 0,0,0 to 255,255,255 in Photoshop and saved it as sRGB jpg file.
I imported the file to Premiere and added Fast Color Corrector to the file and changed black input level from 0,0 to 16,0
So now everything below value 16 is cutted to black.
I exported the edited gradient as h264 mp4 videofile.
Now things got interesting.
I imported the edited videofile back to Premiere, added Fast Color Corrector to videofile and changed black output level from 0,0 to 16,0
The information that I thought was lost is there!
I tried to to the same thing for the same video file with Photoshop and I'm not able to get the lost information back.
Why is there information below 0? And how am I able to rescue it with Premiere, but not with Photoshop?
Does this have something to do with YCbCr black and white levels that are 16-235?
This whole question came up when I calibrated my Samsung lcd-tv. I used AVS HD 709 mp4-calibration videos.
There are black level calibration videofile. Which is exactly like my gradient video file where there are black values below 0.
If you lift your tv's brightness below certain levels you are able to see the black values that are below 0.
I'm able to see these "blacker than black" values with tv's own videoplayer and with xbox videoplayer.
However, if I try to see these values with my macbook pro which is connected to tv I can't get them visible.
It doesn't matter if I play the video with quicktime, vlc or premiere.
So the second question is why the macbook pro does not send any "below black" information to tv?
PS. I'm using latest premiere CC.
Thank you in advance!
In this image you can see from Premiere Scopes what is happening.

Does this have something to do with YCbCr black and white levels that are 16-235?
No and yes.
When you manipulate levels values within 0-255 (0.0-1.0) range, you don't clip existing data, you simply compress/decompress contrast, while information is still there (to some extent). By the way, data outside 16-235 range, but inside 0-255 are not super-blacks or super-whites (underdarks or ovebrights), they are just broadcast safe values. Super-blacks or underdarks are values below 0.0, while super-whites or overbrights are values above 1.0. The nature of YCbCr does allow to store some real super-blacks and super-whites even while encoding to 8-bit codec.
Why only some codecs are able to preserve this "illegal" values?
MOV container is... um-m-m... quirky. For example, exactly the same data encoded to e.g. mp4 and MOV with exactly the same codec (e.g. H.264), may be decoded/interpretted differently. So as to have some fun, create a copy of an mp4 clip, which contains some super-whites, rename file extension of one copy to MOV, import both mp4 and fake MOV footages into After Effects, set your project to 32-bit, sRGB or Rec.709 and linearise working space in order to get precise result while blending layers. Then drop both clips into the same composition and set blending mode to Difference. Enjoy!
Why I'm only able to access these values inside Premiere and not with Photoshop. Is Photoshop unable to access these illegal below 0 values?
Try setting Photoshop to 32-bit first. If that doesn't help, then yes, Photoshop clips values outside 0-255 (0.0-1.0) range on importing. Similarly you won't be able to get super-whites or super-blacks back in PrPro with 8-bit effects.
When i export with codecs that can preserve superblacks should I still get rid of them with videolimiter. Do they cause any problems in youtube or broadcast environments?
No. Moreover, you should take care of broadcast legal range in case of delivering to a broadcaster only, YouTube 'broadcasts' on the web and targets regular computer monitors, which operate on sRGB 0-255 range.
why the macbook pro does not send any "below black" information to tv?
That has probably something to do with Apple colour management workflow. Since I'm not on a Mac, I can't comment this on

At the time of go-live, how to adjust the stock in the bins which match- -

Hello,
Materials are already distributed in to the bins physically where SAP WH mgt not implemented. When we implement the SAP/(at the time of go-live),we have following issues
When we go live, then how to adjust the stock in the system as per actual physical bin stocks in WMS?
OR
DO we have to tell user to adjust the stock in the bins physically as per the system stock?
Thanks

hi,
your stock level get differed between storage level and warehouse level? if so go to LX23 AND EQUAL THE DIFFERENCE.
if u want to change the bin level adjustment use lt01 and lt10 tran. as per your req(at the time of go live) adjust according your inventory stock.
regards
muthuraman.d
Edited by: muthuraman d on Dec 16, 2009 8:59 AM

Adjusting black and white contrast on Photosmart 7520 whilst copying

I can't find any instruction on how to adjust copying contrast on black and white copies..

JCH3114, welcome to the forum.
I have the 7520, also. I am not aware of any adjustment for the contrast when copying. I am not at my printer at the moment, but I will check it out more throroughly a bit later. I will get back to you.
Update: I checked to see what settings were available when Copying. You press Copy button / Settings / Quality - Draft, Normal (Default) & Best. I suggest trying the Best setting and press the Black button to see if that helps. These are the only settings that I could find.
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Signature:
HP TouchPad - 1.2 GHz; 1 GB memory; 32 GB storage; WebOS/CyanogenMod 11(Kit Kat)
HP 10 Plus; Android-Kit Kat; 1.0 GHz Allwinner A31 ARM Cortex A7 Quad Core Processor ; 2GB RAM Memory Long: 2 GB DDR3L SDRAM (1600MHz); 16GB disable eMMC 16GB v4.51
HP Omen; i7-4710QH; 8 GB memory; 256 GB San Disk SSD; Win 8.1
HP Photosmart 7520 AIO
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