Mr8m + m8 422

Dear Expert,
I try to cancel logistic invoice in MR8M and getting an error message : M8 422 " Invoice document 5105713535 cannot be processed further" .
The invoice already been paid by mistake so we cancel the clearing document and now trying to cancel MIRO
Transaction code : MR8M
Invoice num: 5105713535
Fiscal year : 2009.
Can you please help?
thanks
NAVIT

Hi Avi,
Try to reverse the document in December 2010.
The fiscal year you are trying to post is closed both MM and FI side. This is because you may be getting error message.
Regards

Similar Messages

Error While canceling a invoice document in MR8M

Dear All,
          While canceling a MIRO document in MR8M one error is coming as "Inconsistent temporary document number assignment" Message no. F5726.
          This error is coming now in a production server which has been running from last 6 months.
Diagnosis
Temporary document number '$$1' has been assigned to items in company code '1000'. However, the same temporary number ('$$1') is also used for periods '07' and '08'.
System Response
Items with the same values for company code, fiscal year, period, document type and other accounting header data must have the same temporary number in the accounting interface.
Procedure
This is a system error in the calling application.
If the document number assignment is internal, the temporary document number can be copied with its initial value.
If the document number assignment is external, you must follow the rules laid down for the accounting component.
           Awaiting suggestions.
Regards
Abhijit Das

Hi,check note 1376351

Erro Partner type na MR8M

Boa tarde, ao tentarmos utilizar a transação MR8M para reversão de um documento contábil, criado com moeda incorreta USD em vez de BRL, temos a seguinte mensagem de erro. Alguém já passou por esse problema:
NF de entrada 000004969-1 u2013 Doc. 94928
Partner type not found
Message no. 8B109
Diagnosis
The Partner type entered is not maintained in the system.
System Response
The system does not recover the function module to read the partner data.
Procedure
Please enter an existing Partner type or maintain the table Partner type or assign the correct Partner type to the Nota Fiscal Partner function id.
Muito obrigada
Fabiana

Bom dia Fabiana,
Verifique a SAP Note abaixo:
1422287 - MR8M: 8B 109 Type of partner not found with doc type 4 or 7.
Atenciosamente, Fernando Da Ró

Can't make a workable custom codec with ProRes 422 (HQ)

I've only just now found that there is a Support Community for Compressor. Wish I'd known sooner.
I see my version of Compressor is 3.5.3.
I've been on a little saga.
I started out with the challenge of converting some MP4 files from a Blackberry Playbook into ProRes 422 (HQ) for editing in Final Cut. I used Compressor and the task looked fairly straight forward. I used the ProRes setting in the Compressor, converted my files and imported them into Final Cut. Video was fine but I soon found out that the audio needed rendering every time I put a clip into the Timeline. I went on-line to various chat rooms with this problem. Pretty soon a fellow was telling me that the ProRes 422 (HQ) setting in Compressor had "Audio Pass-through" as default and that this was the cause of my problem. Change it, he said, to "Linear PCM".
It took me a fair while to figure out that the ProRes setting in Compressor did not allow itself to be modified and that I'd have to create a custom preset if I was to make these changes. I set about to do that. I was able to select "QuickTime Movie" and then in "Video/Settings" choose "ProRes 422 (HQ)", in "Audio", "Linear PCM". This did solve the audio problem. Now files imported into Final Cut did not need rendering. But another problem became evident.
Whereas the ProRes 422 setting that came with Compressor in its summary page listed: "Width" and "Height" as "(100% of source)", the custom ProRes 422 (HQ) setting I'd just created has "Width" and "Height" as "320" and "240". In short the 19:9 aspect ratio of the original footage was lost. What I got both in the conversion and in Final Cut was a squished SD image.
I've played like heck with Compressor trying to see if there was some place I could get this custom version of ProRes to correspond to the aspect ratio seen in the Audio Pass-through version that came loaded in Compressor. No luck. All very mysterious.
My next step was to look to create another custom codec that would have the proper 1280 X 720 ratio. Turns out "HDV 720p 30fps" does, so now I've been converting to that. Looks fine in Final Cut - proper picture and sound.
I've been playing around a bit more and see now that I can create a custom setting using "Apple Intermediate Codec". I've tried it and it works too.
So after all this, my question: Should I be using that codec instead? Or does it really matter what codec I use for editing? Is the only real issue what codec I decide to use to output?
And while I'm at it: Does anybody have ideas why trying to create a custom setting with ProRes 422 (HQ) does not work - for my purposes at least.
I must admit this converting codecs is pretty new to me. Hopefully with time this experience will get easier and clearer.
John

Setting a Compressor ProRes Custom Setting:
1) Pick Apple ProRes 422...
2) Drag the PreRes 422 setting to the Bach Window. You can only make a custom setting from the Batch Window...
3) Select enable for the audio. Click on setting to make sure it is set right. Uncheck Allow Job Segmenting... Make sure Streaming is set to none*....
4) Select the Geomenty tab... Pick Custom (16:9):
5) Click Save As and name your custom setting...
6) You new custom setting will show up in the Custum folder for later use:
Another thing you can do is make Droplet of this custom setting. Menu... File... Create Droplet... Save the Droplet into a folder somewhere on your computer.
A Droplet will start the transcoding automatically. Drag the Droplet onto a video icon and let it do it's job.
* ProRes doesn't need the Fast Start setting. If this is set it will take almost twice as long to do the encoding. Same with Allow Job Segmenting using Qmaster.
I did the above on the fly and hope everything is clear for you to understand.

Inconsistency in /422- Professiona Tax

Hi
To meet some requirement of additional deduction of Professional Tax, we have creted a wage type by coping the wage type MP00. It was grouped in Additonal payments.Wrote a rule to add the amount entered in the wage type to /3p1, /422 and /424. Ran the payroll. in the current month the amount got deducted and effected for net pay. Checked the log. /422 has updated with the amount entered in the new wage type created for p tax adjustments. Checked the Form16 there also Tax on employment has shown including the amount entered through the wage type. Coming to next month ran the payroll. Checked the log and observed the wage type /422 is not showing correct amount. Not considered the amount which was entered for P Tax adjustments last month. This was resulting in the Income tax calculations. In the Form 16 exemption of Tax on Employment is not showing correct values.
What will be the reason for not considering the p tax adjustment amount.
Request to help in solving the issue
Thanks
EKP Yadav

Hi,
/3P3 is the cumulative wage type of monthly Ptax whereas /3P1 is wage type for the split ptax. Hence /3P3 is the sum of all the splits of /3P1 for the particular period. Because of this, computation of /422 is based on the CRT value of /3P3 and not of /3P1.
Modify your PCR and try to push the cumulative amount into /3P3 as well.
Let me know if it work.
-Praveen

AP: Issue with PO, Quantity is missing after user MR8M

Good Morning SAP Gurus-
We are currently on ECC 6.0. I have an AP issue. We had an open PO with QTY of 2 that a manual GR was done and therefore invoice was paid. We were informed that the items never shipped therefore user executed a credit memo via MIRO and the quantity on PO was back.
Then we received another GR and same situation on the same po again however user used MR8M and now we do not see the Quantity on the PO. How do we get the quantity back on the PO?
Thank you!

Hi,
MIR7 is to be used for cancellation of Invoice document.. It reverse only Vendor liability.. To get the quantity back to PO we need to do MBST for cancellation of MIGO Material document...
Or in the MIGO enter material document no.. by using cancel option (Movement type 102).
Thanks,
Padmaja

Automatic Clearing of Vendor Line's (MIRO-MR8M)

Hi All,
My Clients wants automatc clearing of vendor line items which has resulted from from a single PO.
Ex.
When ever we do MiRO system will
Dr       GR/IR         100
Cr        Vendor    -100
when we reverse the MIRO through MR8M system will pass
Dr         Vendor   100
Cr         GR/IR     -100
when we take the Vendor open Item report, System will generate show both Miro entry as well as MR8M entry.
Vendor    -100    (From MIRO)
Vendor     100    (From MR8M)ds,
Now the requirement is to cleary both the DR and CR lines of the vendor which has been resulted through a unique PO.
Looking forward for the solution.
Thanks in Advance
Regards,
Bhushan
Edited by: nagabhushan rao on Dec 20, 2010 6:23 PM

Use t.code for F-44 for clearing openitems..There you can enter PO at line item level
u can give PO as reference to process Invoice which is gateway for Payment
Regards

I have another question related to the connection and operation of FP-RLY-422

1. I use one 25 VDC power to supply power for all the five fieldpoint modules(i.e. V and C terminals of FP-2000, FP-AI-110, FP-AO-200 and FP-RLY-422 are connected) However, as cascading power from neighboring bases or network modules defeats isolation between cascaded modules. I want to know whether the switching of one channel of a module have influence on the reading or switching of other channels in other modules. May I need to provide seperate power supply for FP-2000, FP-AI-100, FP-AO-200, and FP-RLY-422. If FP-RLY-422 was suppled by power of 120 VAC. Is it OK. I read the manual of FP-RLY-422 which specifies 3 A at 35 VDC or 250 VAC. If I used it to control three heaters of 500 w each and
another 750 W. The current of each channel will be over 3 A. Can it be wired in this way?
2. I use FP-RLY-422 to control four heaters. Now I connected it in this way. I connect it firstly to one of four solid state relays for each channel of the fieldpoint relay. The solid state relay is just a open/close relay the input is 3-32VDC and the output is 110-220VAC/25 A or 240 VAC/50 A. In this case, I build the VI for the operation of heater just in two statuses i.e. on and off. In this case the temperature can't be controlled very accurately. I want to know whether I can build a VI based on PID control based on the present wiring of my cable (i.e. fieldpoint relay control on/off solid relay to control operation of heater indiretly). In this case may I wire the fieldpoint relay FP-RLY-422 directly to the heater of 750 W? I understand the fieldpoint relay FP-RLY-422 in this way. It is a mechanical relay and I can heard the sound when it switched between normally open and normally closed.
I think it have only two statuses i.e. on and off. In this case would you please explain how it contrl the output for the heater more accurately. Does it control by regulating the time being on/off?

Bo,
1a) All FieldPoint I/O modules are supplied operating power from the power supply in the network module. Certain modules may require additional power for sourcing power via outputs or inputs. Of the modules you list above, the following module requires external power; FP-AO-200. The following modules do not require external power wired to the V & C terminals; FP-AI-100, FP-AI-110, FP-TC-120, and FP-RLY-422. The V & C terminals are provided on modules that do not require them to simplify wiring (e.g. not requiring external terminal blocks if you have loop powered current transmitters).
1b) The FP-RLY-422 is rated for up to 3 amps at 35 VDC or 250 VAC. Currents above 3 Amps may damage the relays, the traces on the terminal base and FP-RLY-422 PWBs, and wi
ll cause overheating of the connectoer between the terminal base and the I/O module.
2a) You can use the FP-RLY-422 with a PID control algorithm to control the heater. However, as relays have limited life expectancies and are simply on/off the control will not be a fine as some other options. What may be better is to use a FP-PWM-520 pulse width module to control the solid state relays. You still control the solid state relay via on/off, but in this case, the on/off time can be occuring relatively quickly, and you change the amount of on time vs the amount of off time, to control the power going in to the heater.
Regards,
Aaron

How do I set up stereo audio tracks as default in Premiere using the ProRes 422 codec?

Forgive me if this has been asked many times before. I have searched but can't find anything that explains it in language that doesn't require an advanced degree in computer engineering.
I am a recent convert for our beloved FCP 7. I am learning to love Premiere dearly - but the audio part of it drives me nuts.
I have exported from FCP a series of files as ProRes 422 movies with stereo audio tracks. I want to bring them into Premiere in the same way. But when I do it squashed everything into a single audio file.
This plays havoc with the panning - especially in mixes that have stereo music mixes. Apart from that it just confuses me.
Also. when I create a new project from scratch in Premiere and I select the custom ProRes 422 setting it only allows ProRes 422 mono audio. I don't see a codec for anything else (ie. stereo).
Am I missing something?
I have looked in all the preferences areas and can't find anywhere to change this. I just want to be able to import simple, basic two track audio (and have it show up the same) as I would in FCP, ProTools and the myriad other editing programs I use.
I also want to be able to set up a basic two track stereo timeline/sequence without having to reinvent the wheel.
Many thanks for any help and your patience. I am slowly tearing my hair out and spending long periods sitting in the corner hugging my knees and weeping.
My specs. Preferred editing codec: ProRes 422
Premiere pro version CS6 (6.05)
Thanks again.

Go to the Project Panel, select all clips and rightclick/modify/audio channels.
Set it to 2 tack and mono.
When you drop the clip onto the timeline the stereo will come in on two tracks.
You can also set this to default in the Preferences under Audio (before importing the clips) (Stereo set to mono).

MR8M post a different GL account versus MIRO

Hi Gurus,
Any idea why MR8M posted a different GL account from the original entry? here are the entries:
MIRO
Debit- GR/IR clearing      100
Debit- Expense(manual)    20
Credit- AP vendor                120
MR8M
Debit- AP vendor          120
Credit- GR/IR clearing         120
This entry resulted to a difference in GR/IR clearing account and the user do the clearing manually in FI.
Why is it MR8M did not reverse the Expense entry and posted to GR/IR clearing instead?
Thanks a lot for your time.
Cheers,
Dru

hi
when u post MR8M ,the invoice is get reversed but the FI entries u have to clear manually ,it is done by FI peoples
FI documents need to be cleared manually using Trsnactions F-04 for G/L accounts & F-51 for Vendor accounting documents
You can also automatically clear using F-13
Mention the Documents number & clear the items
Please get in touch with FI Consultant.
regards
kunal

Posting Date of Cancelled Invoice Document MR8M

Hi, there is a invoice document posted in the system (using MIRO) on 3/31/09, when i reverse this document on 4/14/09 using MR8M, the canceled document has a posting date of 3/31/09 (same as the original document) instead of 4/14/09. Can someone tell me how to get the posting date to 4/14/09. Both 3/31/09 and 4/14/09 are in the same fiscal year and period.
Thanks

Hi,it's depend on Reversal reason!You'd to customize it

FCP Apple PRORES 422 (HQ) setting-how to export?

I am importing and dropping in scanned images from the storyboard into FCP and then importting and placing on the timeline some digital animated images which have been done in the format 1920x1080 24fps. They have been put through shake and we chose the setting Apple PRORES 422 (HQ) which I have then set the FCP settings to match that. Everything works fine in Final Cut but then when I export the timeline to make it into a Quicktime movie, the digital animated shots dont play properly, they like skip frames. Do you know anything about this and how I get it to play smoothly? I have tried everything I can think of and nothing is working!

First off, ProRes HQ is VASTLY OVERKILL for converted flash video. That is for 10-bit high end formats. All you gain in using that over ProRes 422 is file size.
Second, 640x432 is a non-standard frame size. 640x480 is more like it, but really, FCP would like to see 720x480. ProRes doesn't really work in RT with the dimensions you have.
Convert the FLV to something like DV50 or just DV. but you have to get the right aspect ratio, or things will require rendering. Or better yet, get the MASTER footage, and not a flash video.
Shane

ProRes 422 (HQ) QT Export out of FCP getting error on re-import

The quicktime exports I'm producing out of my FCP system need renders when I drag them back into the project, into a seq. with the same exact settings they had on export. Even if I drag my export into the same sequence it was exported from!
I'm trying to export a self-contained QT with current settings from a Pro Res 422 (HQ) 1920 x 1080 50i Sequence .
On creating a new sequence, I select the sequence preset Apple Pro Res 422 HQ 1920x1080 50i, then cut in the media-- the media is a 90 min Pro Res 422 HQ quicktime from an online house, also 108050i.
Predictably, no render required. The frame rate, frame size, pixel shape, field, codec match between the media and the sequence.
However, if I export out of that sequence (using File – Export Quicktime; Self-Contained, Current Settings), then re-import the Quicktime and put it back in that same sequence or another new sequence with the same preset settings, it needs picture render. This is only if my export selection from the sequence is at least a few minutes long. If I set an in and an out for a :30 sec selection and export that quicktime, I can play that back in the sequence with no render.
The fact that there's some difference between a 90 minute export from my computer and a 30 second export from my computer could be a clue.
Additional info-- I have tried creating a new sequence with the wrong settings preset to get the FCP prompt "would you like to conform the sequence settings to match the file?" Then I click yes to conform settings and my quicktime export goes into the sequence-- with a red render bar. But if I then cut in the Pro Res HQ QT from the post house it will not need a render. These two QTs appear identical when I compare their item properties in FCP. On playback, in the viewer window, my export will appear a little stuttery.
Can anyone tell me what this means and if I can export a quicktime that does not need to be rendered to be played back in FCP?
Many many thanks!
I'm running FCP 6.0.5 on a 2 x 2 GHz Quad Core with 11 GB Ram. Mac OS 10.5.6. I have media running off of 2 external drives, connected via eSATA. Drive Speed on the externals-- need to double check.

The Error I referred to in the title -- I am getting the message "clip settings do not match any sequence presets" when I try to cut my export into a sequence. Seems bizarre because it just came out of a sequence preset, not a custom sequence, using "current settings."

Why doesn't iMovie use ProRes 422 or native instead of AIC

Does anybody know why apple still uses AIC to transcode all captured video streams instead of ProRes 422? And why does it transcode in the first place? Why can't they use the native HDV or AVCHD streams?
I know that using native HDV, and especially AVCHD, loads the processor with all the decoding, but it should at least be an option for high-end machines. HDV editing on FCP works fine and the storage requirements go down to between 1/3 and 1/8 of what it is with AIC and ProRes.
I think the ideal workflow would be to capture in the native format, edit in the native format when no re-compression is necessary and only render to ProRes when effects/titles/filters are applied.
Is it just too much development work or is there an architectural consideration from the development group to force everything through AIC for some reason?
Is it a licensing issue? Does Apple pay royalties for ProRes for every FCP sale? Would it be prohibitively expensive to distribute ProRes with iLife?
Obviously only someone from the iMovie group would be able to answer all of these questions but we may be able to gather some insights from the community to get a better picture.

I understand that the iMovie and FCP teams at Apple have been, hitherto, completely independent.
FCP was bought in - under a different original name - and tweaked from its original incarnation before being offered as 'Final Cut Pro' by Apple. See the section marked "History" in this Wikipedia article.
iMovie, however, was written long ago to Steve Jobs' specifications by Glenn Reid as a simple video editor for amateurs.
The ProRes codec appears to have been created separately from the Apple Intermediate Codec of iMovie ..probably because of different programmers' responsibilities for the separate programs ..although, under the 'Terms of Use', we're not supposed to speculate here in Apple Discussions.
HDV and AVCHD, being extremely 'compressed' methods of storing video, similar to the MPEG-2 format used for squeezing long movies onto small DVDs, cannot be edited 'frame-accurately' directly, as most of the video frames rely on data stored in other frames for their content. In other words, the 1st frame of fifteen frames contains a whole frame's worth of data, but the next 14 contain only differences between the first frame of a group and the subsequent frames.
So there needs to be a method to 'unscramble' or extract the data from the next few frames after the first of each group, in order to reconstitute the rest of the frames for editing them.
AIC is the method used in iMovie. ProRes is the method chosen for FCP.
It's interesting, though, that Randy Ubillos, now 'Chief Architect - Video Applications' at Apple, and the "onlie true begetter" of what later became Final Cut Pro, was the man who demonstrated iMovie '09 at last month's MacWorld Keynote. So if Randy's on hand to explain how to use iMovie, and created the new-style iMovie, then maybe we'll see some more convergence occur. (..iMovie has already taken on board FCP's "instant rendering", so that we no longer have to wait for transitions to be rendered within iMovie, but can see the results immediately. iMovie's real "behind the scenes" rendering now takes place during export, after after editing's finished..)

Error while doing MR8M

Dear Guru's
i have a return po and Migo done for the same & credit note also done for the same.
but when i go to MR8M tcode to cancel the credit note i am getting the below error,
''Document XXXXXXXXXX XX 2009 already contains cleared items - reversal not
possible
Message no. F5802 ''

has ur credit note(credit memo )been generated by the system due to an invoice reversal.?

Mr8m + m8 422

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