Logo In Workflow

hi,
i am triggering a WF, which would send mail to users Outlook,
now client wants a logo below the message that i am sending to Outlook,
how can i handle this, is there a way that i can send Logo in WF to Outlook.
Help !
Aditya.

Hi Aditya,
I have found the following posts for you, using the search term "mail logo" in this forums:
https://forums.sdn.sap.com/click.jspa?searchID=1196935&messageID=1503066
This thread goes a little bit more into details, sending attachments/embedded objects via SMTP.
https://forums.sdn.sap.com/click.jspa?searchID=1196935&messageID=3014407
This thread was created by ... yourself ... just a couple of days ago.
Please follow-up this thread or at least close one of them.
Please do not forget to apply reward points to especially those users that already have contributed to your previous thread.
Best regards,
Florin

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Best workflow for image (LOGO) from Illustrator to FCP?

Greetings to all. I am struggling with this -- I want to bring my company logo into FCP 5.1.4, FROM Illustrator to FCP. Easy enough? Not for me.. as I have two issues:
1. My imported image looks great in the viewer, but jaggies in the Canvas.
I understand that for DV NTSC 48k, my frame size is 720x480 -- but in another post, I read that it is best to export as 720x540, .tif (another person said 720x540 jpeg, because jpeg embeds sRGB proile -- but that will be part of question #2) -- the square pixel vs. 4:3 pixel issue...
My Illustrator image is all vector art, and all fonts are outlined before export. I am saving as high-res (300 dpi). I tried saving as tif, jpeg, pdf. I tried bringing the PDF into photoshop, and saving as a psd. I tried opening pdf. No matter what I tried, the image looked perfect in the viewer, but like doo in the canvas. A tif, file size 720x540, 300dpi looks correct in the viewer, but jaggie in the canvas.
YES, the green "render" bar was visible in the timeline -- of course, that must be the problem -- but then I rendered the still clip, and there was no difference. I made sure the render indicator in the timeline was "dark grey" -- but yet, the imported still image from illustrator looks jaggie and not good enough for production in the canvas.
WHAT AM I DOING WRONG HERE?
2. Color space -- regardless of the jaggies issues, my imported still image from illustrator is all washed out when imported.
Regardless of file type. Yes, file set to RGB. Yes, gamma set to 2.2 (also tried setting imported still gamma to defualt - "source" - no change)
My LCD display (mac book pro C2D 17") is calibrated, using a Spyder2. Gamma is set to 2.2. My print output from illustrator (saved as pdf x-1/a) ALWAYS prints as expected.
If I add a color correction filter, and juice up the saturation, I can try to make the still image look close, but this shouldn't be the case, YES?
My expectation is that a still image in illustrator or photoshop should look the same in FCP.
What kind of newbie error am I making? What am I missing?
Thank in advance for any guidance.
Jeremy

Jeremy Roberts wrote:
I have been sending jobs to print (magazine ads, web, general print) for ages, and my printed materials come in as expected -- that is, within a few % points of my display -- which is what we are expecting -- and also EXTREMELY close to proof prints, using a reasonably high-end inkjet printer, with correct paper profiles... that is to say, that although I am no expert in color management by any means, I have what I need so that what I see on screen is very close to what is printed on a local printer, or a million dollar press.
CAN I EXPECT to achieve anything close to this with video?
When you print something on paper, you get to see exactly what it will look like and that's exactly how your customers will see it too. With video, there are infinite variables affecting this such as incorrectly calibrated displays; cheap TV components; the difference between CRTs, LCDs and computer displays; the size / resolution of the display, etc. There are so many variables that it will look different on every screen. All we can do as content producers is calibrate to a common standard, achieved through a properly-calibrated broadcast monitor.
But if your film has a single use in mind, such as a trade show, it is better to ignore the above advice and use the display device it will end up on as the monitoring device, if you can.
I am not near my FCP machine right now, so I can't try the test -- but I will try to revert my display color profile to stock apple LCD, and see what this brings. I know that FCP has simply NOT looked correct to me on my machine.
What do the "big guns" who are using FCP and having to use pre-defined creative print elements, created in AI or Photoshop or whatever -- all color matched for print, what do you guys do when you need to integrate this into FCP?
ARE FCP editors using Apple's 1.8 gamma (I guess you must because FCP uses it regardless of your colorsync profile, per the above article). ???
I set it to Source and have had no problems because I create still images on the same machine with the default gamma of 1.8. I think what happened was you created the images in Photoshop with a colorsync profile of 2.2 on the monitor but perhaps a different profile embedded (if any). When you brought it into FCP, FCP automatically assumed it was created at a gamma of 1.8 and boosted to 2.2 but as the images was not created at 1.8, it was already very bright to begin with and so was boosted x2. That's my theory.

New to PrPro with specific workflow questions

Hi, All!
I'm a 20+ year video veteran wading into the Premiere Pro pool this year. I have an extensive Avid and FCP background. Please don't hold that against me! I also realize this is long, but I'm trying to cram everything in so you can see where I've been to possibly re-route me, make it understandable, and at least a wee bit interesting.
I'm currently running PrPro 5.5.2 on a MBP 2.8 GHz Intrel Core 2 Duo with 4GB RAM. My media storage is a 2TB Sonnet Tempo RAID partition over eSATA to an Express34 card on the MBP.
I've sucessfully been doing AVC-Intra projects in PrPro for the last few months. This new project is different, and I want to see if there is any way to make my process more efficient. It's a very simple project, but it's very long. I'm finding as I do my workflow tests that the render, export and conversion process I had been doing for the short AVC-Intra projects (which were in the 5-7 minute range) are going to be very time consuming on this project, which has a hefty 2 1/2 hour run time over 14 modules. The editing is simple, if not cookie-cutter. It's creating the deliverables that's going to be the real bear here. I'm hoping your collective experience can offer me a better workflow that what I've cobbled together from my other knowledge and previous forum searches.
The nitty gritty:
These videos are basically putting a narrator to PowerPoint presentation and prettying it up with a music stinger at the open and close and adding a nicer-than-PPT transition betweeen the slides. I have an AIFF audio track for narration, AIFF music file from SmartSound, PNG graphic files (converted PowerPoint deck), & an animated Apple PNG transition. (from the Digital Juice people. It's one of their "Swipes".)
I started with a AVC-Intra timeline because that seemed to me to be the highest quality. I understand this was probably my first error. The renders are taking about run time for the module. With these elements and the following deliverables, what Sequence Settings do you recommend I should be using?
My deliverables will be myriad, which is why I want to export out a high-quality master file out of PrPro and then do the mulitple conversions to other sizes & codecs in a compression app. I have Encore, Sorenson Squeeze, and Compressor at my disposal. I'm guessing Encore will be my friend here, but it's also the one I know the least.
I tried exporting out a ProRes file. That took over 40 minutes on a 14 minute module. Then I converted that to a 640 x 360 H.264 to upload as an approval file. That took about 35 minutes. (I used Compressor becasue I have a droplet craeated for that and it's what I have been sucessfully been using to make small, good-looking files that my clients can reasonably download or stream).
Next I tried exporting out the highest quality H.264 at 1920x1080 and tried converting that using my Compressor droplet. That took 50 minutes to export out of PrPro, but it saves me one step of converting to a full size H.264. What I'm not sold on is whether or not that file is the best file I should be using to make the other deliverables.
What I will eventually need to deliver is a family of H.264 in various sizes from 1920x1080 to 320x180 & an authored DVD. So we're talking hours of processing for each one if I go with what I know.
Since the only thing that moves in these videos are a handful of animated transitions (10-15 per module) and a fade in & fade out, my gut tells me I could make this happen faster if I only changed a few things in my workflow. I'm just at a loss as to what those things might be.
Another little note. The client will wnat to custominze these with different logos, so I will have to be able to get in, add or change a logo super, and re-export and re-convert all 2 1/2 hours multiple times. A more efficeint way to do that would be very helpful. Both for my sanity and my clients' budget.
Any insight would be greatly appreciated! Thanks!!
deb

>avoid 24 hours of processing
Adding to what was just posted
The computer I replaced in 2010 was based on the Pentium4 CPU (Windows XP with CS3) and when I was done editing my SD video and ready to create a DVD, I would start Encore before I went to bed, so it would have an ISO ready for disc writing in the morning
The computer I have now is described in http://forums.adobe.com/thread/652694 and my entire process of going from AVCHD to an SD AVI and then the encoding to ISO in Encore is just a bit over real time (maybe twice real time, but that is subjective, not based on a stop watch)
CPU cores and speed plus lots of ram (12Gig for my motherboard... 16Gig for newer technology motherboards) and multiple fast hard drives ALL make a difference
Your computer is, very simply, just barely able to run PPro... I have NO idea what is available in the Mac world, but to have "acceptable" speed, you need a new computer

Printing of a logo and text on business cards, paper, etc.

Dear reader(s),
Let me introduce myself; my name is Matthew Hennessy from the Netherlands and I mostly PhotoShop, Illustrate for a hobby (for the last 5 years).
In the past 5 years I have learned a lot when it comes to designing, but this isn't enough. A few weeks ago my boss asked me to design a new logo and new text, with the intention of using it on business cards, brief paper and envelopes.
Now here comes the part you have seen coming, I really need to know a few things about the printing process, and the settings necessary to make a 'print ready' file. I have already done some research, but still some things are very unclear to me. If any answers could be given to the following questions, that would be more than appreciated!
Questions:
1. Crop marks - I have seen a lot of tutorials on the internet where people refer to 'crop marks', why are these necessary? What are they? What are they used for? How can I set the preferences and how can I see if I use the 'crop marks' correctly?
2. Trim marks - I have seen a few people talking about this. Are 'trim marks' the same as 'crop marks'?
3. Bleeding - this is something I really try to figure out, and already did my best but I'm not getting any wiser! Example given of my problem:
I'm planning to (when this comes to an end), order business cards, brief paper and envelopes on Vistaprint (Dutch site). The preferred size is 1. 90mm x 52mm (complete document) or 2. 87mm x 49mm (cut off).
What is the difference between these two sizes? I suppose this has something to do with the bleeding, but what?
Now this is what confuses me, and I don't think I'm the only one:
3.1. I made a new document in Illustrator CS5, with the 'complete document' measurements 90mm x 52mm (300DPI, CMYK). Do I need to input bleeding before I push ok?
3.2. I made a new document in Illustrator CS5, with the 'cut off document' measurements 87mm x 49mm (300DPI, CMYK). Do I need to input bleeding before I push ok?
4. Is there a checklist or anything to do this perfectly? As you can imagine I don't want to mess this up.
Any help will be greatly appreciated, e-mail contact would be great too: [email protected]
Thank you for reading, I will be around to look for replies! Thanks again!
- Matthew

function(){return A.apply(null,[this].concat($A(arguments)))}
1. Crop marks - I have seen a lot of tutorials on the internet where people refer to 'crop marks', why are these necessary? What are they? What are they used for? How can I set the preferences and how can I see if I use the 'crop marks' correctly?
Forget so-called "Crop Marks." Crop Marks and Crop Region are Illustrator-specific terms. It's an Illustrator feature that creates a set of (grossly oversized) printable marks on the Artboard for the printing house to use as trim indicators and/or (depending on version) to define a region for output when you export the file in certain formats. Other programs in Illustrator's genre don't even have this feature because it's really not necessary. Historically, it was Illustrator's workaround for its lack of a proper bleed feature and single-page limitation. I never even use Illustrator's Crop Marks. If I want trim marks to print, I simply draw my own.
Trim marks is an industry term. Trim marks are short hairlines which align to the edges at which you want the paper to be trimmed after printing, but are placed outside the actual trim rectangular area so that they get trimmed away. In most projects destined for offset printing, it's a good practice to draw proper trim marks in the bleed area of the page. The print dialog also provides a Printer Marks feature that will cause trim marks (among other things) to print outside the Artboard. (You don't need to worry about that in this scenario.)
function(){return A.apply(null,[this].concat($A(arguments)))}
2. Trim marks - I have seen a few people talking about this. Are 'trim marks' the same as 'crop marks'?
So as explained above, Illustrator Crop Marks is an Illustrator feature commonly used to draw trim marks. I don't use that feature. It wastes space.
function(){return A.apply(null,[this].concat($A(arguments)))}
3. Bleeding - this is something I really try to figure out, and already did my best but I'm not getting any wiser! Example given of my problem:
Bleed is an industry term that simply means you want ink to print "right to the edge of the paper." That's not actually possible on a commercial offset press. So if the design requires "right to the edge of the paper" printing, you cheat: You print on a larger-than-final-size sheet, put trim marks to indicate the final size of the piece, and design so that anything that is supposed to "print to the edge" actually extends beyond those trim marks. Theoretically, if the physical processes of commercial printing were perfect, you could draw your design "just to" the trim. But paper expands and shrinks with humidity changes, Press sheets jog around a bit as they get picked up by the suction lifts and grippers and shoved and squished between the rollers. (It's a mechanical miracle that the process works at all, and has for over a century. A full-size CMYK offset sheetfed press is a marvelous piece of engineering.) After printing and drying the sheet is trimmed at the trim marks, and the artwork that extends beyond the trim marks is chopped off.
Typically in commercial offset printing, 1/8 inch of "extra artwork" beyond the trim is sufficient to allow for the inaccuracies of the process.
Now here's the thing: If you are working in the traditonal manner with a commercial printing house, you know the press size and sheet size that will be used for the project. You can do all kinds of things at the design stage to minimize unnecessary work at the printing house by "designing for the press sheet." For example, in the press houses with which I work, I would never deliver a business card project output file as a single-card image on a single-card-sized page. No conventional offset printer is going print business cards one-card-at-a-time on 3.5 x 2 inch sheets. They are going to "gang" (step & repeat) multiple images of the card on one press sheet.
Typically, I would know in advance the press sheet size that is going to be used and the necessary space for gripper and press sheet margins. I would set up the software page to the size of the press sheet and arrange multiple instances of the card in that space. I would draw my own trim marks for each card in the array. If the sheet size is such that it will result in alot of paper just going in the waste bin, I may design some other piece in the otherwise unused area (a bookmark or hangtag, for example) and thereby get an "almost free" second document out of the press run. If the cards is designed to be printed on both sides, I will often arrange the page to accommodate "work and turn" printing, wherein both sides of the card gets printing on one side of the sheet, the sheets are simply flopped over and run through the press again. That avoids the need for a second press setup.
But since everybody and his third cousin's nephew is now a "designer," many printing houses have set up "click & drag" printing solutions on the web. Such solutions make it "quick & easy" (not necessarily cheaper) for the neophyte and "idiot proof" for the printer by removing the above-described flexibility and designing "one size fits all" workflows. That's what you're chasing with the Vistaprint vendor.
function(){return A.apply(null,[this].concat($A(arguments)))}
I'm planning to (when this comes to an end), order business cards, brief paper and envelopes on Vistaprint (Dutch site). The preferred size is 1. 90mm x 52mm (complete document) or 2. 87mm x 49mm (cut off).
What is the difference between these two sizes? I suppose this has something to do with the bleeding, but what?
In the Vistaprint .ai template for design-your-own business cards I just downloaded to see what you're talking about, they have the artboard set to accommodate a design with bleed. You don't have to design bleeding elements, but the space is there if you do.
The AI Artboard (page) is 90 x 52 mm. Think of that as your bleed area. If there are elements in your design that you want to "print to the edge" of the finished card, draw them all the way to the edges of the Artboard. The printer is, in effect, telling you that if you do that, then you will be providing enough "extra" artwork to accommodate the inherent variances in the printing/triming process.
The (grossly overthick) 87 x 49mm red rectangle is the trim. So it effectively is the "trim marks". It represents the final card after it is trimmed down to final size. That's the size your cards will be when delivered. That roughly coresponds to the 3.5 x 2 inch dimensions that are considered the norm in the US. I don't know about what's the convention in Europe, but assuming it is the same as in the US, that's the size you want the cards to be. Business cards that are even slightly oversized usually end up in the trash can because they often don't fit pockets in card-carriers or plastic sleeves.
The (grossly overthick) blue rectangle is the so-called "safe area". That's nothing more than a suggested "safe design margin" between your artwork and the trim. The idea is that you are supposed to keep any elements of the design that you don't want to risk getting "too close" to the edges of the final piece--or even getting chopped off by the trim--within that rectangle. Magazines and newspapers are also fond of providing "safe area" in their add space specs. I ignore them. I know what kind of visual "margins" I want in my designs and I know when I am risking getting too close to the trim. But an amateur designer may think it brilliant to "make a title as big as possible" and actually crowd text almost right up against the trim (in other words, poor design). Then he gets upset when the normal variance in the printing/trimming process causes the text to actually get cut on some of the finished pieces. By providing that rectangle, the printer is telling you "Don't blame us if some of your artwork is too close to the trimmed edge if you place that artwork beyond this rectangle."
function(){return A.apply(null,[this].concat($A(arguments)))}
3.1. I made a new document in Illustrator CS5, with the 'complete document' measurements 90mm x 52mm (300DPI, CMYK). Do I need to input bleeding before I push ok?
3.2. I made a new document in Illustrator CS5, with the 'cut off document' measurements 87mm x 49mm (300DPI, CMYK). Do I need to input bleeding before I push ok?
In the "idiot proof" template that Vistaprint has provided, they are treating the Artboard size as the bleed, and the red rectangle as the trim. So there is no need for you to include trim or bleed marks in your design.
Just set up your AI document exactly as the template that Vistaprint provided. Better, actually use their document file and paste your artwork into it on the Layer named "Your Design". When arranging your artwork, leave the (poorly named) "Guides" Layer visible, but locked. Make any art elements (background fills, etc.) that you want to "print to the edge" of the finished card extend all the way to the Artboard edge. Keep all other design elements within the "safe margin" blue rectangle.
All this is explained, by the way, in the See Accepted File Types link on the Vistaprint site.
When done, delete the Layer named "Gudies." Deliver the file to the printer. I would not deliver the .ai file; I would deliver a PDF. If you insist on delivering as an .ai file, convert all text to paths (a practice I despise). If you deliver as PDF, simply choose File>Save A Copy... in Illustrator. In the resulting dialog, select Adobe PDF as the file type. In the next dialog, leave the top menu set to Illustrator Defaults, but set the compatibility popup to Acrobat 4 (PDF 1.3). That should be fine.
JET

Help needed on webdesign, logo's, dynamic charts, etc.

This is my first post here on this forum, so forgive me for maybe not giving you all the relevant data.
Background
Bill Gehrke and myself have developed a benchmark test for Premiere Pro CS5. Look here: PPBM5 Benchmark
Since last week I have made this site, the very first in my life with Dreamweaver CS4. It was the first time I used DW and let me tell you, for a PR user, it is really a whole lot different.
Workflow
People go to the site, follow the Benchmark Instructions, download the ZIP file, run the test and mail the results to us.
We enter the data in a Excel spreadsheet and export that to .HTML format and upload it to the site. This can be seen in the Benchmark Results.
Questions
Here is a screenshot of the spreadsheet:
There are three cells of interest: A2 which is a link to the Home Page, and M1 and M2, which link to two separate JPG charts.
What I want on the published HTML results page is overlaying the cell A2 with a logo, like on all other pages, but keep the current link underneath the logo intact to return to the Home page. Of course without impacting the layout of the spreadsheet. When trying to insert the logo, it looks like this in Live View, and that is not what I want. Look at the problem:
Second I want a Spry tooltip on the links to the charts, or another solution, that when one hovers the mouse on either field, it will display the linked to chart over the spreadsheet, untill the user moves the mouse away. One could also consider an overlayed thumb file of the chart, that automatically will be enlarged to full size with the Tooltip.
The complicating factor is of course that when new results are submitted and a new HTML file is created, it does not require new coding.
I have tried to do the overlays in Excel, but the export to HTML from Excel is pretty weak, and the overlayed pictures that show up fine in Excel, do not show up in DW or the site after uploading. One other complicating factor in Excel is that overlays disable the underlying link.
I hope this explains what I want to do. Maybe some of you, far more knowledgeable and experienced, have some suggestion on how to tackle this.

Ben & PZ,
Thanks in large part to your help and suggestions, I have solved the major issues I had.
First, I don't want to give the spreadsheet out to people, so downloading is out of the question. There is just too much error checking code, formulas, logic and formatting and numerous macros in the spreadsheet, that I consider that as proprietary and even though there are ways to protect the contenct of a workbook, it is just too easy to circumvent.
People will have to do will the large table of results, but the essential information is shown in such a way that horizontal scolling is hardly necessary. Vertical scolling will become necessary when there are more entries, like the around 150 entries in the PPBM4 benchmark for CS4, but that can't be helped.
I tried your suggestions, one step at a time, and had a couple of problems, in the sense that several footnotes, that were automatically added to several columns based on the content of other columns, were lost. For instance, when someone says he has a SATA disk, but it runs at 10,000 RPM and the size is either 150, 300 or 600 G, it is a Velociraptor and the interface is changed to SATA1 with the 1 as a supercript. In combinations with the difficulty I envisioned with the complete reformatting of the table in HTML, I searched for alternative approaches, and I found it.
With the help of Lightbox, I now have the two charts I want to show available, it looks pretty good, although I had to adjust the position of the charts in the lightbox.js file.
You can see the result here: http://ppbm5.com/Benchmark5.html
Now the only thing to figure out is the logo, but that is secondary.
Thank you both for your help and suggestions. As a consequence, I have learned a lot and made another step forward.

Photographer workflow script - from card to web in 10 steps. Possible?

Photography processing workflow AppleScript
I shoot photos of real estate properties for clients and post them online to a web gallery via a CMS and FTP client. Because many of the steps are consistent, I would really want to have a script created to do the following (mostly automated, but does require some input from me). Here's an accompanying video going thru this script in case any of it is unclear: http://bit.ly/i1im3E
*Here are the steps:*
1) I start by plugging in my camera's memory card (the one that holds the photos from the shoot) into the computer's USB reader. Drive "EOS_DIGITAL" appears on desktop.
2) Script recognizes that a card has been plugged in and dialogue box asks "Process photos, process panoramas, or quit script." Alternitavely, I can engage a script myself if an auto-recognize function is overly complex/etc. For now, I want the script to process just photos (we can deal with panoramas later). Click "Photos". (of course, if click "Quit", the script ends at that point. I need this option in case I am not yet ready or I don't intend on processing the photos from this card).
3) Next, the application Adobe Bridge CS4 is initiated and the EOS_DIGITAL drive is opened in Adobe Bridge to the directory: computer/EOSDIGITAL/DCIM100EOS5D. It is within this director on the card that the photos sit.
4) At this point, the script pauses with a dialogue box instructing me to "Select photos"… This gives me the opportunity to manually select all the photos I wish to edit and share with the client later on. Once selected, click "Continue" which opens the selected photos in Camara Raw via menu (File>Open in Camera Raw…).
5) Once Camera Raw opens with all photos previously selected, the script pauses with dialogue box asking "Please click continue when finished editing". At this point I edit the photos using Camera Raw.
6) When finished editing, I click to continue on the script's dialogue. The script then selects all (edit>select all) of the photos in the Camera Raw sidebar (those that I just finished editing), and clicks "Save Images…". The Save Options opens and let's me "Select Folder"; then under "File Naming" selects "1 Digit Serial Number" from the first drop-down. For "Format" selects "JPEG" and quality "Maximum" and finally the script clicks "save". When it finishes saving, "Cancel" or ESC from Camera Raw and quit Adobe Bridge.
7) Dialogue box with buttons opens referring to recently saved photos: "Convert and save into MLS size, Web size, both, or quit?" The buttons of course will be MLS, Web, Both, Quit.
- If select the "Both" button: first, two new folders named "web" and "mls" are created in the folder bearing the newly saved photos from step 6. Next, the new photos are saved as copies into the new folders and (via photoshop save for web function) reduced to 550px wide (with constraints on) in the "web" folder and 640px wide (with constraints on) in the "mls" folder.
- if select "MLS size", then similar to the "Both" option but only makes one folder ("mls") and copies and sizes the photos to 640px wide in that folder.
- if "Web size", etc.
- if "quit", then the script is stopped and quit at that point.
8) Once finished converting photos, Safari opens and logs into http://www.stonehomephoto.com/admin.php using login ________ and password _______ (for obvious reasons I will input these into the final script myself--just let me know where). Once logged in, dialogue will ask "Is this an existing client or new?" with buttons Existing and New.
- if New, will go to http://www.stonehomephoto.com/admin.php?pid=administrator&code=edit and here I will fill in info to create a new user login for a new client: user login, user password, then click save. This creates a new client account so my clients can access their individual galleries thru the CMS. At this point I will proceed to the "Examples" tab as per Existing below
- if Existing, go to http://www.stonehomephoto.com/admin.php?pid=example&code=edit and here I will create a new listing for the web gallery. I will fill in the following fields: Title, Html address, Mp3 background (set automatically to /images/upload/music/Beethoven Piano Sonata 12 (Opus 26 1st Movement).mp3), Assign client (select from a drop-down menu), fill in the Meta title and Meta description, and add address in the search/map field and click "search". Once all this is completed, click "save". This will create the new web gallery and appropriate folders will be made (named after the html address) in the server/host.
9) Filezilla opens and logs in with host ________ username ________ password ______ and host ___. (for obvious reasons I will input these into the final script myself--just let me know where). Once logged into the server, will navigate to directory _____________________ and will open the newly created folder as created in step 8. Within this folder will also be an already created folder named MLS. Once within this main folder, the script will move the "Web" photos (created in step 7 above) into the directory. It will also move the "MLS" photos into the "MLS" folder. Once photos have been uploaded, script quits Filezilla.
10) Script opens a specified Numbers spreadsheet /Users/Peter/Documents/MY DOCUMENTS/STONEHOME/*TRACK:CONTACTS:COMPETITION (similar to this script: http://discussions.apple.com/thread.jspa?threadID=2704594&tstart=0) and dialogue asks "Please select relevant row" and click continue. Once the row in the spreadsheet containing the data for the listing (including the client's name, phone, email, the listing address, etc, etc) is selected and the Continue button is clicked, an email is created using a previously saved text template RTF file and specified fields are filled in using the data from the spreadsheet. Here's the text:
"Hi clientnamehere
The virtual tour for propertyaddress_here_double_click_toadd is online and ready for you to access and share.
Step 1: Online Virtual Tour
We're providing you with two links to your online virtual tour. While both look essentially the same, one is without branding/contact info for you to use on your TREB listing, and the others is with branding/contact for use everywhere else. Please read the "CAUTION" note below for detailed explanation why you need these two links.
You must use this link on your MLS/TREB listing as a virtual tour: url_here
… And use this link for all other purposes: url_here
Step 2: Login
Login to add a description and contact info by clicking the login button at the top corner of our website: http://www.stonehomephoto.com
User name: usernamehere
Password: userpasshere
Step 3: Add description and contact info to your listing
Once logged in, click the "My Pages" tab then click on the link "edit" (note that the link "edit" is separate from "gallery", even though the two look like one link--we are working on resolving this). In this "edit" section, you'll be able to add a description, contact info (I recommend also adding a photo of yourself in the "edit contact data"), etc. Please do make sure to include a description and your contact info otherwise it will remain blank.
*CAUTION: Please do double-check when posting the link to TREB/MLS that you use the first URL above (the one with "mls" in the URL). If you post the link with "client" in the URL to TREB/MLS, the listing will be removed by TREB and you'll get a warning letter from TREB, and potentially a fine (it's happened to past clients). These are TREB rules; not mine. The difference between the MLS version and the CLIENT version of the URLs is that the CLIENT version has contact info, logo, etc, whereas the MLS version doesn't. TREB/MLS doesn't allow any links to sites/web galleries/etc that have contact info, logos, etc. Just so you know for future reference, I will always give you two URLs: one for MLS/TREB and another (with CLIENT in URL) for all other purposes.
If you have questions, please don't hesitate to contact us directly--we'll be glad to help."
11) At this point I can review the email and send it when I feel it's ready to go. That's it.
Easy, right?

Don't know if this will help, but take look at: http://www.completedigitalphotography.com/?p=373 and http://www.apple.com/downloads/macosx/automator/photoshopactionpack.html

Exporting Animated logo from AE cs6 into Premiere cs6

I have an animated logo that I would like to import into premiere cs6. When I exported it into premiere, it only imported the picture, not the background and animation along with the picture. What can I do export the logo in its entirety?

If your export does not show everything in your composition then you are looking at the wrong view in AE or you have set elements in your composition as guide layers. The only thing exported is the Active Camera view. There are also many ways to bring an AE animation into Premiere Pro. You can add the .aep to PPro and load the comp into the sequence, You can use Dynamic Link from inside the sequence to replace footage, or you can render to any one of about 10,000 different formats for use in PPro, only a very few of which are suitable for a production workflow. You have given us nothing to go on to solve your problem. If checking for guide layers and making sure that you created your comp using the Active camera view does not solve your problem then we need to know everything that is going on in your comp and exactly what your workflow is.

Workflow- sending a html file in a mail(outlook)

Hi Guys,
i want to send a html file in a mail(outlook) in workflow. whenever enduser click that file its open automatically sap inbox.
html file belongs to a logo, if we click on that file it will automatically opens the SAP INBOX.
this is the my requirement.
give me suggestion for this requirement or any other solution.
we appriciate your reply.
Thanks
Sankar.
Message was edited by: sankar surya

Unless you are prepared to zip and email every folder and
file related to
the page,
exactly as it is on your computer, it would be wiser to
upload it all to
your hosting
server, and send a link to the recipient.
"2start" <[email protected]> wrote in
message
news:erat61$h8m$[email protected]..
>I need to email a frame page I have created in
DreamWeaver.. How can I do
>that?

How Best to Save Vector Logo as PDF

Hi, we're creating master logo files for an international corporation that will be used by many different end-users, most of who should be design/production professionals. It will be accompanied by a style guide outlining proper usage, etc.
The logos are 100% vector, and in years past we would save them out as EPS files. But we understand that is a bit antiquated and limited (this article is one of better out of many). So we want to save all master files as PDFs, but we want to make sure we are using the best possible settings to keep quality and color-compliance at it's highest, while also being as compatible as possible.
LOGO SPECS:
- As mentioned, the logo files are 100% vector, but are using some pretty advanced gradient meshes in Illustrator to simulate a 'metallic' emblem. We've made it grayscale (only K channel in CMYK). The smoothness needs to be retained.
- They also may have a couple small inner/outer glows, which we understand may be rasterized in the conversion. We've set the Document Raster settings pretty high to account for this.
- They need to retain transparent backgrounds so they will work on any background color.
- We have created RGB (using sRGB profile), CMYK (not color managed) and spot PMS versions.
QUESTIONS:
1) First, keeping in mind what's important (complex gradients, transparent backgrounds, etc), what PDF version should we use (e.g., 1.5, 1.6, 1.7, etc) that would keep quality high but be as compatible as possible with possible slightly outdated software?
2) Are we right to only embed color profiles on the RGB versions? We don't want the CMYK or PMS numbers to change at all, and we have no way of knowing final output intent.
3) Any other settings or tips we should know as we make these files (there will be 30+ final files when complete)? We really need to do this right.
Thanks for any help or tips! Let us know if there's anywhere else we may want to look for more specific details.

1. Avoid transparency (transparent - missing - backgrounds in vector are OK).
2. Provide a RANGE of files. You cannot possibily satisfy all needs with one file. I would suggest:
- EPS
- AI
- PDF
- High resolution TIFF (will lose transparency).
If you don't want the CMYK values to change (i.e. you want the colour to CHANGE when used with different devices, rather than be mapped to stay the same), what you are doing might help, but some workflows will simply apply a default profile early on.
Crucially, prepare to be adaptable. The holy grail is one file for everyone, but people have been looking for that for a long time.

How to build a Report from workflow information

Hi Friends,
I want to create a sales order approval and rejection steps using workflow. For this I have created User Decision Step where I have included approval and rejection decisions. And it is working fine. But the thing is that user wants a report for later analyis by giving sales order info. in selection and in output he need SO number,creation date, approver name, how many times he rejected, rejection date, approval date etc. How to achieve this? Is there any standard report programs available to get this type of info? kindly assist me.
Rewarded...
Thanks in advanace,
Steve.

Hi Stephen!
Take a look this example I've developed a report like this.
REPORT ZSICREP001 .
INCLUDE ZSICREP001I.
SELECTION-SCREEN BEGIN OF BLOCK B1 WITH FRAME TITLE TEXT-001.
 PARAMETERS: S_UNAME LIKE USR02-BNAME OBLIGATORY.
SELECTION-SCREEN: END OF BLOCK B1.
INITIALIZATION.
PERFORM zf_init_alv USING p_var.
START-OF-SELECTION.
PERFORM busca_nome USING S_UNAME CHANGING LC_NAME.
CONCATENATE 'Tarefas de:' LC_NAME INTO TITULO SEPARATED BY SPACE.
PERFORM: busca_dados,
 prepara_dados,
 zf_monta_tabela_alv,
 zf_monta_layout,
 ZF_SORT_SUBTOTAL,
 zf_executa_funcao_alv TABLES t_alv USING ' '.
END-OF-SELECTION.
Executa a busca dos dados no BD.
Form Busca_Dados.
 CALL FUNCTION 'SAPGUI_PROGRESS_INDICATOR'
 EXPORTING
 percentage = 15
 text = 'Buscando dados ...'.
Busca o histório das tarefas executadas pelo usuário informado.
 Select WI_ID
 METHOD
 METH_EDATE
 METH_ETIME
 FROM SWWLOGHIST
 INTO TABLE T_SWWLOGHIST
 WHERE METHOD EQ 'SWW_WI_STATUS_TO_COMPLETED' AND
 METH_USER EQ S_UNAME.
 IF SY-SUBRC EQ 0.
 BUSCA O LOG DE CRIAÇÃO DA TAREFA
 Select WI_ID
 METHOD
 METH_EDATE
 METH_ETIME
 FROM SWWLOGHIST
 INTO TABLE T_SWWLOGHIST_CRIA
 FOR ALL ENTRIES IN T_SWWLOGHIST
 WHERE WI_ID EQ T_SWWLOGHIST-WI_ID AND
 METHOD EQ 'SWW_WW_CREATE' AND
 METH_USER EQ 'WF-BATCH'.
 ENDIF.
 CALL FUNCTION 'SAPGUI_PROGRESS_INDICATOR'
 EXPORTING
 percentage = 35
 text = 'Buscando dados ...'.
Busca as tarefas aguardando execução do usuário.
 CONCATENATE 'US' S_UNAME INTO S_ORG_OBJ.
 Select WI_ID
 FROM SWWORGTASK
 INTO TABLE T_SWWORGTASK
 WHERE ORG_OBJ EQ S_ORG_OBJ.
Para cada tarefa aguardando execução, busca o evento de criação da
tarefa e appenda na tabela de histórico
 IF SY-SUBRC EQ 0.
 SORT T_SWWORGTASK BY WI_ID.
 Select WI_ID
 METHOD
 METH_EDATE
 METH_ETIME
 FROM SWWLOGHIST
 APPENDING TABLE T_SWWLOGHIST_CRIA
 FOR ALL ENTRIES IN T_SWWORGTASK
 WHERE WI_ID EQ T_SWWORGTASK-WI_ID AND
 METHOD EQ 'SWW_WW_CREATE' AND
 METH_USER EQ 'WF-BATCH'. .
 ENDIF.
 CALL FUNCTION 'SAPGUI_PROGRESS_INDICATOR'
 EXPORTING
 percentage = 45
 text = 'Buscando dados ...'.
Endform.
PREPARA OS DADOS
FORM prepara_dados.
DATA: lc_hoje like SWWLOGHIST-METH_EDATE,
 lc_index type i.
LC_HOJE = SY-DATUM.
CALL FUNCTION 'SAPGUI_PROGRESS_INDICATOR'
 EXPORTING
 percentage = 50
 text = 'Preparando dados ...'.
SORT T_SWWLOGHIST BY WI_ID METH_EDATE METH_ETIME.
SORT T_SWWLOGHIST_CRIA BY WI_ID.
LOOP AT T_SWWLOGHIST_CRIA.
 PERFORM BUSCA_REQUISICAO USING T_SWWLOGHIST_CRIA-WI_ID
 CHANGING l_NUM_REQ l_WIPAI.
Se o número da req. vier em branco é porque o workitem nao é do SIC.
 IF NOT l_NUM_REQ IS INITIAL.
 BUSCA O EVENTO DE EXECUCAO DA TAREFA
 READ TABLE T_SWWLOGHIST WITH KEY WI_ID = T_SWWLOGHIST_CRIA-WI_ID
 BINARY SEARCH.
 IF SY-SUBRC EQ 0.
 l_DTEXECTASK = T_SWWLOGHIST-METH_EDATE.
 l_HREXECTASK = T_SWWLOGHIST-METH_ETIME.
 ELSE.
 l_DTEXECTASK = ''.
 l_HREXECTASK = ''.
 ENDIF.
 T_ALV-WORK_ITEM = T_SWWLOGHIST_CRIA-WI_ID.
 T_ALV-EXEC_TAREFA = l_DTEXECTASK.
 T_ALV-HORA_EXEC_TAREFA = l_HREXECTASK.
 T_ALV-CRIA_TAREFA = T_SWWLOGHIST_CRIA-METH_EDATE.
 T_ALV-HORA_CRIA_TAREFA = T_SWWLOGHIST_CRIA-METH_ETIME.
 T_ALV-REQUISICAO = l_NUM_REQ.
 T_ALV-WIPAI = l_WIPAI.
 BUSCA O TIPO DO FLUXO
 SELECT SINGLE FLUXO
 FROM ZSICREQUISICAO
 INTO T_ALV-FLUXO
 WHERE BANFN EQ T_ALV-REQUISICAO.
 APPEND T_ALV.
 ENDIF.
ENDLOOP.
CALL FUNCTION 'SAPGUI_PROGRESS_INDICATOR'
 EXPORTING
 percentage = 75
 text = 'Preparando dados ...'.
SORT T_ALV BY REQUISICAO.
LOOP AT T_ALV.
 AT NEW REQUISICAO.
BUSCA O TIPO DO FLUXO
 SELECT SINGLE FLUXO
 FROM ZSICREQUISICAO
 INTO T_ALV-FLUXO
 WHERE BANFN EQ T_ALV-REQUISICAO.
 PERFORM BUSCA_LOG USING T_ALV-REQUISICAO
 T_ALV-FLUXO
 CHANGING T_LOG.
 ENDAT.
 CLEAR: T_ALV-ICONE.
BUSCA O LOG DE CRIACAO DO WORKITEM
 READ TABLE T_LOG WITH KEY WORKITEM = T_ALV-WORK_ITEM.
 IF SY-SUBRC EQ 0.
 T_ALV-TEXTO_LOG_CRIA = T_LOG-TEXTO_LOG.
 ELSE.
 T_ALV-TEXTO_LOG_CRIA = ''.
 ENDIF.
BUSCA O LOG DE EXECUÇÃO DO WORKITEM
 IF SY-SUBRC EQ 0.
 lc_index = SY-TABIX.
 lc_index = lc_index + 1.
 READ TABLE T_LOG INDEX lc_index.
 IF SY-SUBRC EQ 0.
 T_ALV-TEXTO_LOG_EXEC = T_LOG-TEXTO_LOG.
 ELSE.
 T_ALV-TEXTO_LOG_EXEC = ''.
 ENDIF.
 ENDIF.
Calcula o tempo que a tarefa ficou parada
 IF NOT T_ALV-EXEC_TAREFA = ''.
 T_ALV-DIAS = T_ALV-EXEC_TAREFA - T_ALV-CRIA_TAREFA.
 ELSE.
 T_ALV-DIAS = LC_HOJE - T_ALV-CRIA_TAREFA.
 WRITE icon_red_light AS ICON TO t_alv-icone.
 ENDIF.
 MODIFY T_ALV.
ENDLOOP.
ENDFORM.
BUSCA A REQUISIÇÀO ATRAVES DO WORKITEM.
FORM BUSCA_REQUISICAO USING l_WI CHANGING NUMREC WI_PAI.
DATA: LC_NUMREC LIKE SWW_CONTOB-OBJKEY.
CLEAR: l_SWR_WIHDR.
BUSCA O WORKITEM PAI.
CALL FUNCTION 'SAP_WAPI_GET_HEADER'
 EXPORTING
 workitem_id = l_WI
 IMPORTING
 WORKITEM_ATTRIBUTES = l_SWR_WIHDR.
BUSCA O NUMERO DA REQUISICAO.
SELECT SINGLE OBJKEY
FROM SWW_CONTOB
INTO LC_NUMREC
WHERE WI_ID EQ l_SWR_WIHDR-WI_CHCKWI AND
 ELEMENT EQ 'REQUISITIONHEADER' AND
 OBJTYPE EQ 'BUS2105'.
IF SY-SUBRC EQ 0.
 NUMREC = LC_NUMREC.
 WI_PAI = l_SWR_WIHDR-WI_CHCKWI.
ELSE.
 NUMREC = ''.
 WI_PAI = ''.
ENDIF.
ENDFORM.
Monta a estrutura do relatório
FORM ZF_MONTA_TABELA_ALV.
CALL FUNCTION 'SAPGUI_PROGRESS_INDICATOR'
 EXPORTING
 percentage = 80
 text = 'Montando a estrutura do relatório...'.
CLEAR t_fieldcat.
t_fieldcat-fieldname = 'ICONE'.
t_fieldcat-tabname = 'T_ALV'.
t_fieldcat-reptext_ddic = 'Status'.
t_fieldcat-inttype = 'C'.
t_fieldcat-no_out = 'X'.
APPEND t_fieldcat.
CLEAR t_fieldcat.
t_fieldcat-fieldname = 'REQUISICAO'.
t_fieldcat-tabname = 'T_ALV'.
t_fieldcat-reptext_ddic = 'Requisição'.
t_fieldcat-inttype = 'C'.
APPEND t_fieldcat.
CLEAR t_fieldcat.
t_fieldcat-fieldname = 'CRIA_TAREFA'.
t_fieldcat-tabname = 'T_ALV'.
t_fieldcat-reptext_ddic = 'Dt.Rec.Tarefa'.
t_fieldcat-inttype = 'D'.
APPEND t_fieldcat.
CLEAR t_fieldcat.
t_fieldcat-fieldname = 'HORA_CRIA_TAREFA'.
t_fieldcat-tabname = 'T_ALV'.
t_fieldcat-reptext_ddic = 'Hr.Rec.Tarefa'.
t_fieldcat-inttype = 'C'.
APPEND t_fieldcat.
CLEAR t_fieldcat.
t_fieldcat-fieldname = 'TEXTO_LOG_CRIA'.
t_fieldcat-tabname = 'T_ALV'.
t_fieldcat-reptext_ddic = 'Log do recebimento da tarefa'.
t_fieldcat-inttype = 'C'.
APPEND t_fieldcat.
CLEAR t_fieldcat.
t_fieldcat-fieldname = 'EXEC_TAREFA'.
t_fieldcat-tabname = 'T_ALV'.
t_fieldcat-reptext_ddic = 'Dt.Exec.Tarefa'.
t_fieldcat-inttype = 'D'.
APPEND t_fieldcat.
CLEAR t_fieldcat.
t_fieldcat-fieldname = 'HORA_EXEC_TAREFA'.
t_fieldcat-tabname = 'T_ALV'.
t_fieldcat-reptext_ddic = 'Hr.Exec.Tarefa'.
t_fieldcat-inttype = 'C'.
APPEND t_fieldcat.
CLEAR t_fieldcat.
t_fieldcat-fieldname = 'TEXTO_LOG_EXEC'.
t_fieldcat-tabname = 'T_ALV'.
t_fieldcat-reptext_ddic = 'Log da execução da tarefa'.
t_fieldcat-inttype = 'C'.
APPEND t_fieldcat.
CLEAR t_fieldcat.
t_fieldcat-fieldname = 'DIAS'.
t_fieldcat-tabname = 'T_ALV'.
t_fieldcat-reptext_ddic = 'Dias'.
t_fieldcat-inttype = 'I'.
t_fieldcat-do_sum = 'X'.
APPEND t_fieldcat.
CLEAR t_fieldcat.
t_fieldcat-fieldname = 'WORK_ITEM'.
t_fieldcat-tabname = 'T_ALV'.
t_fieldcat-reptext_ddic = 'Work Item'.
t_fieldcat-inttype = 'C'.
t_fieldcat-no_out = 'X'.
APPEND t_fieldcat.
CLEAR t_fieldcat.
t_fieldcat-fieldname = 'WIPAI'.
t_fieldcat-tabname = 'T_ALV'.
t_fieldcat-reptext_ddic = 'WI Pai.'.
t_fieldcat-inttype = 'C'.
t_fieldcat-no_out = 'X'.
APPEND t_fieldcat.
ENDFORM.
 Form zf_sort_subtotal
 Classificação e item de subtotalização
FORM ZF_SORT_SUBTOTAL.
CALL FUNCTION 'SAPGUI_PROGRESS_INDICATOR'
 EXPORTING
 percentage = 90
 text = 'Montando a estrutura do relatório...'.
 CLEAR t_sort.
 t_sort-spos = 1.
 t_sort-fieldname = 'REQUISICAO'.
 t_sort-tabname = 'T_ALV'.
 t_sort-up = 'X'.
 t_sort-subtot = 'X'.
 append t_sort.
 CLEAR t_sort.
 t_sort-spos = 2.
 t_sort-fieldname = 'CRIA_TAREFA'.
 t_sort-tabname = 'T_ALV'.
 t_sort-up = 'X'.
 append t_sort.
ENDFORM.
BUSCA A LINHA DO LOG REFERENTE AO WORKITEM
FORM BUSCA_LOG USING NUM_REQ TIPO_WFLOW CHANGING LOG STRUCTURE T_LOG.
DATA: lh_wis like SWWWIHEAD occurs 0 with header line,
 lc_wiatual type TP_DADOSWI,
 lc_noant like ZSICDESETAPA-NODE_ID,
 lc_chckwi like swwwihead-wi_chckwi,
 lh_itemlist like SWWWIHEAD occurs 0 with header line,
 lc_wid like swwwihead-wi_id,
 lc_objkey like SWW_CONTOB-OBJKEY.
BUSCA TODAS AS INSTANCIAS DO FLUXO
lc_objkey = NUM_REQ.
call function 'SWI_WORKITEMS_OF_OBJECT_GET'
 exporting
 objtype = 'BUS2105'
 objkey = lc_objkey
 tables
 itemlist = lh_itemlist.
Elimina os Workitens que não sao de diálogo e não são de criação do
*fluxo.
delete lh_itemlist where not wi_chckwi is initial or wi_type <> 'F'.
loop at lh_itemlist.
 Refresh: lh_wis.
 CLEAR: lc_noant.
 lc_wid = lh_itemlist-wi_id.
 busca todos os workitems dependentes do WI pai
 call function 'SWI_GET_DEPENDENT_WORKITEMS'
 exporting
 wi_id = lc_wid
 tables
 dependent_wis = lh_wis.
 elimina WI que não são de diálogo
 delete lh_wis where wi_type <> 'W'.
Verifica se existe alguma tarefa para o usuário informado se não
existir, né há necessidade de entrar no loop.
 READ TABLE lh_wis WITH KEY WI_AAGENT = S_UNAME.
 CHECK SY-SUBRC EQ 0.
 Loop at lh_wis.
 busca nó
 search lh_wis-wi_creator for lh_wis-WI_CHCKWI.
 lc_wiatual-node_id = lh_wis-wi_creator+sy-fdpos(22).
busca o SUBWORKFLOW que a tarefa pertence.
 select single wi_rh_task
 into lc_wiatual-task
 from swwwihead
 where wi_id = lh_wis-WI_CHCKWI.
Monta o log
 IF S_UNAME EQ lc_wiatual-agent.
 LOG-WORKITEM = lh_wis-WI_ID.
 PERFORM MONTA_LOG USING TIPO_WFLOW
 lc_wiatual-task
 lc_wiatual-node_id
 lc_noant
 lc_wiatual-agent
 lh_wis-WI_AAGENT
 CHANGING LOG-TEXTO_LOG.
 APPEND LOG TO T_LOG.
Busca o Agente
 lc_wiatual-agent = lh_wis-WI_AAGENT.
 lc_noant = lc_wiatual-node_id.
 endloop.
Endloop.
ENDFORM.
MONTA O TEXTO DO LOG.
FORM MONTA_LOG USING TIPO_WF TAREFA NODE NODE_ANT AGENT AGENT_DEST
 CHANGING TEXTO_LOG.
Data: lc_DESETAPA LIKE ZSICDESETAPA,
 lc_LEN TYPE I.
BUSCA O TEXTO DO LOG.
SELECT * UP TO 1 ROWS
FROM ZSICDESETAPA
INTO lc_DESETAPA
WHERE TASK EQ TAREFA AND
 NODE_ID EQ NODE AND
 FLUXO EQ TIPO_WF.
ENDSELECT.
SE FOR ETAPA RECURSIVA
IF lc_DESETAPA-RECURSIVA = 'X'.
 SELECT SINGLE LOG
 INTO TEXTO_LOG
 FROM ZSICETAPA_RECUR
 WHERE TASK = TAREFA AND
 NODE_ID = NODE AND
 FLUXO = TIPO_WF AND
 NODE_IDPAI = NODE_ANT.
ELSE.
 TEXTO_LOG = lc_DESETAPA-LOG.
ENDIF.
IF NOT TEXTO_LOG IS INITIAL.
Formata Mensagem DO USUARIO ORIGEM
 PERFORM busca_nome USING AGENT CHANGING LC_NAME.
 lc_LEN = STRLEN( lc_NAME ).
 IF NOT lc_LEN IS INITIAL.
 REPLACE 'V1' LENGTH lc_LEN with lc_name(lc_LEN)
 INTO TEXTO_LOG.
 ELSE.
 REPLACE 'V1' LENGTH 2 WITH SPACE INTO TEXTO_LOG.
 ENDIF.
Formata Mensagem DO USUARIO DESTINO
 PERFORM busca_nome USING AGENT_DEST CHANGING LC_NAME.
 lc_LEN = STRLEN( lc_NAME ).
 IF NOT lc_LEN IS INITIAL.
 REPLACE 'V2' LENGTH lc_LEN with lc_name(lc_LEN)
 INTO TEXTO_LOG.
 ELSE.
 REPLACE 'V2' LENGTH 2 WITH SPACE INTO TEXTO_LOG.
 ENDIF.
ELSE.
 TEXTO_LOG = ''.
ENDIF.
ENDFORM.
BUSCA O NOME DO USUÁRIO
form busca_nome using p_usrid CHANGING p_name.
data ln_pernr like pa0105-pernr.
check not p_usrid is initial.
Busca o no.pessoal do usuário
select pernr into ln_pernr up to 1 rows
from pa0105
where usrty eq '0001'
 and usrid eq p_usrid.
endselect.
if sy-subrc = 0.
Busca o nome completo do usuário
 select ename into p_name up to 1 rows
 from pa0001
 where pernr eq ln_pernr.
 endselect.
 translate p_name to upper case.
endif.
endform.
*& Form zf_monta_layout
 text
--> p1 text
<-- p2 text
form zf_monta_layout.
Preenchendo algumas opções de impressão (Não é obrigatório)
v_layout-expand_all = 'X'. "Abrir subitens
v_layout-colwidth_optimize = 'X'. "Largura melhor possível da coluna
v_layout-edit = 'X'. "Permitir a edição
v_layout-zebra = 'X'. "Zebrar o relatório
v_layout-info_fieldname = 'COLOR'. "Cor da linha
v_layout-no_totalline = 'X'. "Não imprime a linha de Total.
v_layout-totals_before_items = 'X'. "Imprime o total antes do item
endform. " zf_monta_layout
Best Regards
Luciano Barreto

Why are EPS files preferred when dropping a logo into a publication?

I need to send a logo to several printers who will be dropping it into publications that they produce for my client. Most of the printers have requested EPS files. Can someone explain why EPS seems to be the preferred file format in this situation? What is the advantage over PDF? Thanks.

I agree with Mylenium. I was just about to post the fact that there are many types of PDF readers and authoring/editing packages out there, much more than for EPS. You won't find an EPS viewer on an Android phone as quickly as you would find the PDF viewer that comes preinstalled on many of them with Quick Office or DataViz's Office package. So the benefit is that people who are on the go could pre-approve your logo and pass it on to whomever is doing the final graphics, if the workflow requires a middle-man. I am not a professional but have noticed the improvements to certain technologies when it comes to PDF. I worked in a copy & print service and we always requested PDF's to work with or to copy from, not EPS. If it had to be raster then we required 300dpi JPG's or TIF's. It wasn't a premier service but it was good enough to get lots of work done and we never worked with EPS.
One thing I will say for people working in 3D, many packages now accept AI files (as opposed to other vector formats such as Illustrator PDF, CDR, Corel PDF or whatever else) but it wasn't until recently that one of the major special effects packages accepted AI format--it was EPS or DXF (coming out of AutoCad) if you wanted 2D vector data into your 3D environment to do further modeling with.

Logo In Workflow

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