Question about h.264 output in PE7

I'm a bit confused about h.264, in article
http://gizmodo.com/5093670/giz-explains-every-video-format-you-need-to-know
it states:
"MPEG-4 Part 10, the other part, was actually co-devopled by MPEG and the
ITU-T, so it's also known-in fact, more commonly known-as H.264. It's more
efficient than MPEG-2 and MPEG-4 Part 2, delivering the same quality video
in as little as half the space"
That sounded good and I thought perhaps I should switch from DIVX as my
format for small-footprint avi's residing on the computer to H.264
However when i go to output (share) a file in PE7, selecting MPEG only
provides 4 choices for H.264 and they are all hi-def (1440x1080i) - there is
no option for standard def or smaller. Is this another situation where I
must do DV in PE7 and then use an external converter to convert to the final
format?
Mark

Dude, you are worth every penny Adobe is paying you....lol Mark <[email protected]> wrote in message news:[email protected].. > Nope. You can output to H.264 in any size, quality and frame rate you > want, Mark. It's one of the dozens of "hidden" output formats I wrote > about in my recent Steve's Tips article for <a href=http://www.muvipix.com>. > > To get to them, instead of using Share, just go to File/Export/Movie (with > the timeline selected).

Similar Messages

Basic questions about high-quality output and PDFs

I do volunteer work in a non-profit that interfaces with local county government. We've been discussing a project to produce an atlas-type information as a service to the residents. The maps would be rendered by the GIS software the county uses (ESRI's Arc suite). The question is what file format should we ask for given the high-quality print and plot output we have in mind and our desire to add some simple vector markup in some cases to the maps. The markup, when used, would be simple circles, rectangles, arrows or text.
Our idea is the do most of the printing and plotting ourselves (we'd use something like a local Kinkos). This allows is to control paper sizes. In addition, we might want to crop the map and upscale a bit so we need to be careful of data density (dpi). The question is what file format do we request from the county?
Obviously we can ask for PDFs but, as a novice with that output, I don't fully understand 1) its Tools capability (but I am learning about it) and 2) how to control data density.
Since I think its best to envision a PDF as a "box" for other data, is the quality of the output going to be determined by the data density of the object inside the PDF?
I know I may not be very clear so please help me get clear on the question if I haven't expressed it well here.
BTW, I know I can place a PDF into an AI object and then add the vector stuff if needed, but I don't know from a workflow perspective if that's the best way to assure hight quality output.
Thanks
Tom
P.S. We may end up with GIS viewing software as we move forward (ESRI has a grant program for non-profits). All this would mean would be we would be the ones making the decision about output format but the question on workflow would still remain.

4. Finally, with CDs burned this way through iTunes, does iTunes place some sort of DRM on the burned CDs? If so, what practical effect does that DRM have on my burned CD (how does it limit the functionality of the CD?
No, so no limits to functionality.

Question about creating multiple output files from same query

I have a query like this:
select * from emp;
ename empno deptno
Scott 10001 10
Tiger 10002 10
Hanson 10003 20
Jason 10004 30
I need to create multiple output files in xml format for each dept
example:
emp_dept_10.xml
emp_dept_20.xml
emp_dept_30.xml
each file will have the information for employees in different departmemts.
The reason I need to do this is to avoid executing the same query 200 times for generating the same output for different departments. Please let me know if it is practically possible to do this.
Any input is greatly appreciated.
Thanks a lot!!

You can write a shell script to generate the multiple spools files for the same output. Below script may helps you.
#====================
#!/bin/bash
n=0
while [ $n -le 20 ]
do
n=`expr $n + 1`
sqlplus -s system/manager <<EOF
spool emp_dept_$n.xml
select count(1) from tab;
spool off
EOF
done
#====================

Simple question about systemd console output - can i get a timestamp?

hello. with the old syslog program, sending the log to a console used to yield essentially the same output as /var/log/everything.log, critically including timestamps before each entry. Now with systemd, enabling console output just gives each entry by itself, so you can't tell if you're looking at 5 seconds worth of activity or 5 days. any way a timestamp can be added here? i'd find that useful on my servers, as I have a screen connected to them but no keyboard.
thanks

Console output of what? Please post the exact command you're using and the output.
# journalctl -b
-- Logs begin at Sun 2013-08-11 17:23:43 CEST, end at Wed 2013-09-11 05:36:39 CEST. --
Sep 10 19:11:44 localhost systemd-journal[36]: Runtime journal is using 184.0K (max 49.8M, leaving 74.8M of free 498.4M, current limit 49.8M).
Sep 10 19:11:44 localhost systemd-journal[36]: Runtime journal is using 188.0K (max 49.8M, leaving 74.8M of free 498.4M, current limit 49.8M).
Sep 10 19:11:44 localhost kernel: Initializing cgroup subsys cpuset
Sep 10 19:11:44 localhost kernel: Initializing cgroup subsys cpu
Sep 10 19:11:44 localhost kernel: Initializing cgroup subsys cpuacct
Sep 10 19:11:44 localhost kernel: Linux version 3.11.0-1-ARCH (tobias@testing-i686) (gcc version 4.8.1 20130725 (prerelease) (GCC) ) #1 SMP PREEMPT Tue Sep 3 0
Sep 10 19:11:44 localhost kernel: e820: BIOS-provided physical RAM map:
Sep 10 19:11:44 localhost kernel: BIOS-e820: [mem 0x0000000000000000-0x000000000009f7ff] usable
Sep 10 19:11:44 localhost kernel: BIOS-e820: [mem 0x000000000009f800-0x000000000009ffff] reserved
Sep 10 19:11:44 localhost kernel: BIOS-e820: [mem 0x00000000000e0000-0x00000000000fffff] reserved
Sep 10 19:11:44 localhost kernel: BIOS-e820: [mem 0x0000000000100000-0x000000003f6effff] usable
Sep 10 19:11:44 localhost kernel: BIOS-e820: [mem 0x000000003f6f0000-0x000000003f6fafff] ACPI data
Sep 10 19:11:44 localhost kernel: BIOS-e820: [mem 0x000000003f6fb000-0x000000003f6fffff] ACPI NVS
Sep 10 19:11:44 localhost kernel: BIOS-e820: [mem 0x000000003f700000-0x000000003f77ffff] usable
Sep 10 19:11:44 localhost kernel: BIOS-e820: [mem 0x000000003f780000-0x000000003fffffff] reserved
Sep 10 19:11:44 localhost kernel: BIOS-e820: [mem 0x00000000fec00000-0x00000000fec0ffff] reserved
Sep 10 19:11:44 localhost kernel: BIOS-e820: [mem 0x00000000fee00000-0x00000000fee00fff] reserved
Sep 10 19:11:44 localhost kernel: BIOS-e820: [mem 0x00000000ff800000-0x00000000ffbfffff] reserved
Sep 10 19:11:44 localhost kernel: BIOS-e820: [mem 0x00000000fffffc00-0x00000000ffffffff] reserved
<cut>
Sep 10 19:11:56 black kernel: IPv6: ADDRCONF(NETDEV_CHANGE): eth0: link becomes ready
Sep 10 19:11:56 black systemd-logind[164]: Watching system buttons on /dev/input/event2 (Power Button)
Sep 10 19:11:56 black systemd-logind[164]: Watching system buttons on /dev/input/event1 (Power Button)
Sep 10 19:12:00 black login[167]: pam_unix(login:session): session opened for user karol by LOGIN(uid=0)
Sep 10 19:12:00 black systemd[1]: Starting user-1000.slice.
Sep 10 19:12:00 black systemd[1]: Created slice user-1000.slice.
Sep 10 19:12:00 black systemd[1]: Starting User Manager for 1000...
Sep 10 19:12:00 black systemd-logind[164]: New session 1 of user karol.
Sep 10 19:12:00 black systemd[1]: Starting Session 1 of user karol.
Sep 10 19:12:00 black systemd[191]: pam_unix(systemd-shared:session): session opened for user karol by (uid=0)
Sep 10 19:12:00 black systemd[1]: Started Session 1 of user karol.
Sep 10 19:12:00 black login[167]: LOGIN ON tty1 BY karol
Sep 10 19:12:00 black systemd[191]: Failed to open private bus connection: Failed to connect to socket /run/user/1000/dbus/user_bus_socket: No such file or dir
Sep 10 19:12:00 black systemd[191]: Mounted /sys/kernel/config.
Sep 10 19:12:01 black systemd[191]: Stopped target Sound Card.
Sep 10 19:12:01 black systemd[191]: Starting Default.
Sep 10 19:12:01 black systemd[191]: Reached target Default.
Sep 10 19:12:01 black systemd[191]: Startup finished in 619ms.
Sep 10 19:12:01 black systemd[1]: Started User Manager for 1000.
Sep 10 19:12:00 black dhcpcd[168]: eth0: leased 192.168.1.4 for 259200 seconds
Sep 10 19:12:00 black dhcpcd[168]: eth0: adding host route to 192.168.1.4 via 127.0.0.1
Sep 10 19:12:00 black dhcpcd[168]: eth0: adding route to 192.168.1.0/24
Sep 10 19:12:00 black dhcpcd[168]: eth0: adding default route via 192.168.1.1
<cut>
(No idea why there's 'Sep 10 19:12:01' followed by 'Sep 10 19:12:00')

A question about the digital outputs on my sound card

I have a Sound Blaster PCI Express XiFi Extreme Audio soundcard (the blue colored one) and I'm wondering whether it's digital output is a coaxial or optical connector?

Okay, I have determined that it is an optical output. What I want to know now is how I can convert that to a stereo output.

Another question about DTS Digital output on

I have a xfi fatality and the sound is amazing, but when I use bitstream digital out to listen to a dts cd, the external receiver plays the dts signal really distorted, I can hear the song but it's pretty much like a bad fm radio tune, it's really distorted. I can listen to mp3 in dolby digital 2 channels or stereo (if I select 96hz instead of 48hz output) but I can't simply listen to dts audio. I'm using windvd 7 to play the cds with the spdif enabled (that's the distorted sound option) or with it disabled (that's when the sound "goes" to the receiver as simply as pcm 2ch dolby). I also have the analog plugs connected to the receiver, but the digital sound quality is much better. So after reading many threads I don't know what I'm doing worng. Any ideas?

Hi-
There shouldn't be any problem accessing the files. Even running applications from the other drive is possible.
Personally, I would dedicate a portion of the drive to the OS and applications, and keep files on a larger, separate partition.
Regarding the Leopard partition, allow enough room for the OS and applications, plus an additional 30GB or more for virtual memory use.

CBWFQ: Question about the output of "show policy-map interface" command

Hi everyone,
I have a question about the output of "show policy-map interface" command.
The following is the output of this command and lower side of the output shows
(total queued/total drops/no-buffer drops) 0/342/0
If the packets drop occur due to the situation of no enough buffer,
"no-buffer drops" counted up. But "no-buffer drops" has not been counted up.
The "no-buffer drops" is 0 (zero) but "total drops" are counted as 342.
I guess there are other factors except "no-buffer drops" to add "total drops".
But I can not find any information about "other factors".
So I would like to know the "other factors" added to "total drops".
reserch-3725#sh policy-map interface fastethernet0/1
FastEthernet0/1
Service-policy output: shaping
Class-map: kdpc (match-all)
146956873 packets, 115209221595 bytes
5 minute offered rate 156000 bps, drop rate 0 bps
Match: access-group name YOKOHAMA_to_CHINO
Traffic Shaping
Target/Average Byte Sustain Excess Interval Increment
Rate Limit bits/int bits/int (ms) (bytes)
9360000/9360000 58500 234000 234000 25 29250
Adapt Queue Packets Bytes Packets Bytes Shaping
Active Depth Delayed Delayed Active
- 0 146956724 3539850811 2960247 3851843541 no
Class-map: class-default (match-any)
552458414 packets, 249687580329 bytes
5 minute offered rate 242000 bps, drop rate 0 bps
Match: any
Traffic Shaping
Target/Average Byte Sustain Excess Interval Increment
Rate Limit bits/int bits/int (ms) (bytes)
3072000/3072000 19200 76800 76800 25 9600
Adapt Queue Packets Bytes Packets Bytes Shaping
Active Depth Delayed Delayed Active
- 0 552453209 573909865 30358216 2926188156 no
Service-policy : policy1
Class-map: dlsw (match-all)
979578 packets, 264843255 bytes
5 minute offered rate 0 bps, drop rate 0 bps
Match: access-group name acl-dlsw
Queueing
Output Queue: Conversation 137
Bandwidth 128 (kbps) Max Threshold 64 (packets)
(pkts matched/bytes matched) 20922/17371500
(depth/total drops/no-buffer drops) 0/0/0
Class-map: telnet (match-all)
29938 packets, 1806058 bytes
5 minute offered rate 0 bps, drop rate 0 bps
Match: access-group name acl-telnet
Queueing
Output Queue: Conversation 138
Bandwidth 64 (kbps) Max Threshold 64 (packets)
(pkts matched/bytes matched) 639/38900
(depth/total drops/no-buffer drops) 0/0/0
Class-map: class-default (match-any)
551448911 packets, 249420939729 bytes
5 minute offered rate 242000 bps, drop rate 0 bps
Match: any
Queueing
Flow Based Fair Queueing
Maximum Number of Hashed Queues 128
(total queued/total drops/no-buffer drops) 0/342/0
Your information would be appreciated.

Details infomatiuon regarding show policy-map interface
http://www.cisco.com/en/US/tech/tk543/tk545/technologies_tech_note09186a008010dd6a.shtml
http://www.cisco.com/en/US/tech/tk543/tk760/technologies_tech_note09186a0080108e2d.shtml
http://www.cisco.com/univercd/cc/td/doc/product/software/ios123/123cgcr/qos_r/qos_s2g.htm#wp1146884

From USB to IEEE-1394: question about HD capture, editing, sharing.

I’m new to editing video but have a question about capturing video into Premiere Elements 7. I have been using a Canon HF11 which shoots only in HD and only has USB output to copy video to my desktop. I don’t have a Blu-ray burner yet but I have burned a few projects to DVD, shared video on YouTube, and saved files in .avi and .mpeg to view on computer screens. But obviously I’m missing out on sharing HD on disk at this time. I just bought a Canon XH A1s which shoots both HD and SD on miniDV tapes. And uses IEEE-1394 cable for capturing (to Pre7). I did a 3 minute test project in SD and burned it on a DVD disk. I was very pleased at the results and the ease of editing. I don’t have any HD tapes yet, but when I do what differences will I experience from shooting in HD and then capturing, editing, then to sharing? My current HD processes with the HF11 is slow, occasional low-resources warnings, and less then pleasing results on DVD disks. Thanks for any and all comments and/or suggestions.

Your HF11 is AVCHD format and the Canon XH A1 is HDV MPEG2. AVCHD takes a lot more computer horespower to edit compared to HDV MPEG2... main reason being that AVCHD is more highly compressed giving small file sizes. This is also why you get the low resource and memory alarms while editing.
To shoot HD you do not need HD miniDV tapes you can use the standard miniDV tapes. However the HD tapes are supposed to give fewer drop-outs than the standard tapes but are considerable more expensive. With DV-AVI a drop out would be hardly noticed, but as HDV MPEG2 is a compressed format and the picture relies on information in a number of frames any drop-outs can give a second or so of bad video. That said I have had very few issues with drop-outs. If you are doing a wedding or something important that you do not want to risk then probably better to use a HD miniDV tape.
In the past the advise has been to capture in high definition to get the best quality and then downconvert in the camcorder and capture in DV-AVI... the reason being that older versions of Premiere Elements did not do a good job of the down conversion. Reports on PE7 indicate it is better and that you could use a HDV workflow and burn to DVD as a last stage. This also allows you to export a high definition version of your video to view on a monitor where you can appreciate the higher resolution. Or in the future when you have a Blu-ray burner and player you can burn the file to disc... save doing all the editing all over.

Variable Frame Rate on H.264 output

I am using AE CS6 (cloud version). I am trying to render compositions to 1080p mp4. Each time the comp appears to render fine. But bringing it into my NLE crashes my NLE. I brought the media into MediaInfo (app from SourceForge that shows everything about a media clip). It says that the Frame Rate is VARIABLE Min: 60fps; Max 60.6 fps. The composition was 80 fps, and I told the renderer to keep it at 80. MediaInfo also said the duration was over 6 seconds. The composition was a little over 4 seconds. So the overall speed of the comp was incorrect. I've been in the video business for about 10 years. I understand frame rates, etc. Never heard of VARIABLE frame rates until this.
I was able to launder the media file through a freeware media format converter, and got it back into constant frame rate so I could proceed in the NLE with the project. But the time was still 6 seconds. So I had to speed up the clip in the NLE to get it back correct.
Since moving to CS6 from CS4, I decided to start using the H.264 output module. So I've just started encountering this variable frame rate problem.
So my questions... What is variable frame rate, how did I 'request' it, why is even the variable frame rate no where near the comp frame rate, and what do I do to simply get an mp4 with the 80fps that I want?
This is very reproducible for me. My comps are usually either HDTV 1920x1080 or HDV 1440x1080.
Add to Render Queue
Select DV Settings, change field order to none
Select H.264 output module
Render
Can someone explain what's going on?
Thanks.
Jerry

Where did you get that footage and what format was it originally shot in? Was it shot in slow motion or did you change the frame rate in AE? Why would you need 80fps footage unless you're going to slow it down to a normal frame rate?
Also, h.264 is not only a very lossy format, it's also a bad intermediate format. So if you're planning on editting that footage later on in an NLE, I'd suggest rendering it to something else. Premiere should work fine with h.264, but not FCP, although I think they fixed it in FCPX, but you didn't say what NLE you're using.
Second of all, the H.264 encoder is much better in Adobe Media Encoder. Check this post by Andrew Yoole:
3.Andrew Yoole,
Jun 8, 2012 6:34 PM in reply to pkaracas
Report
As the other guys have said, don't use AE to render using temporal codecs. Temporal codecs like H264 rely on storing partial frames based on earlier information. AE renders and encodes one frame at a time, so most of the efficiency of a codec like H264 is lost. The result is that you get much lower overall quality from an AE h.264 render than if you were to encode it externally.
Adobe Media Encoder or Quicktime 7 will encode great quality H.264 files.
Was this helpful? Yes No
As I said I'm not sure why you would need to take an 80fps piece of footage back into an NLE, but if you're trying to make that footage play back in slow motion, you're going to have to re-interpret the frame rate of the footage in After Effects to play back at standard rate. And, if you're going to use the AE Render Queue to output something for more editing, I would suggest using best settings and outputting to a production codec such as a ProRes, Animation, Uncompressed 10bit, Uncompressed 8bit or Black Magic.
Also I've never used that media info app before, but I know that when you open up quicktime and hit command I on the mac to view the inspector, the playing fps jumps around. I think this happens because the player doesn't necessarily play back the correct frame rate at all times.
This Adobe Captivate blog talks about variable frame rates in F4V files. Maybe it might help explain things.
http://blogs.adobe.com/captivate/2010/11/f4v-or-f4v-fixed-frame-rate-what-should-i-go-with .html

Questions about CUDA

Hi there.
Just bought new station, with NVIDIA Quadro 4000 included, and I'm trying to get my head around this mess:)
Can you please help me with those questions:
1) Is Quadro 4000 fully supported by CS5?
2) Should I download some special soft and plug ins to fell the kick it should provide?
3) What about this RENDERING confusion, it's clearly said in hundreds of videos online that Rendering should be a lot faster (h264 and such). And it isn't. Also there is a MainConcept 5.1 codec - is it for real? From creators of it:
"Main Concept 5.1 gives CUDA H.264/AVC Encoding support for NVIDIA GPU accelerated H.264/AVC encoding for selected presets"
4) My playback isn't smooth at all:( I've got new station with 12Gb ram, RAID, i7 quadcore and Quadro 4000, edeiting standard h264 DSLR 1080p footage. I didn't even tryied famous 9 in 1 playing realtime, it's getting choppy with 2 already:/
GPU acceleration is on, everything seems to work fine. I'm confused. Moreover, my friend got exactly the same PC station only with cheap regular Geforce, and actually i don't see any difference. Am I doing something wrong or was I just tricked by Nvidia superb marketing? And it brings me to:
5) Most important: can You please advice us how to SETUP and use PREMIERE PRO, PHOTOSHOP, and such to take most of Quadro? Web is overrun with videos about how great and 10x faster it will be when you buy it;), but totally confusing when it comes to real advices.
Thanks a lot Todd

> 1) Is Quadro 4000 fully supported by CS5?
Yes.
> 3) What about this RENDERING confusion, it's clearly said in hundreds of
videos online that Rendering should be a lot faster (h264 and such).
And it isn't.
Rendering is the creation of images. That's faster. Encoding/compression takes those images and converts them to a specific format. That's not accelerated by CUDA in Premiere Pro CS5.
> Also there is a MainConcept 5.1 codec - is it for real? From creators of it:
"Main Concept 5.1 gives CUDA H.264/AVC Encoding support for NVIDIA GPU accelerated H.264/AVC encoding for selected presets"
Yes, MainConcept offers some additional software that uses CUDA to accelerate encoding/compression. That's separate from what Premeire Pro CS5 offers. If you have questions about that, then you should ask MainConcept.
> 4) My playback isn't smooth at all:( I've got new station with 12Gb
ram, RAID, i7 quadcore and Quadro 4000, edeiting standard h264 DSLR
1080p footage. I didn't even tryied famous 9 in 1 playing realtime, it's getting choppy with 2 already:/
GPU
acceleration is on, everything seems to work fine. I'm confused.
Moreover, my friend got exactly the same PC station only with cheap
regular Geforce, and actually i don't see any difference. Am I doing
something wrong or was I just tricked by Nvidia superb marketing?
Have you installed the Premiere Pro CS5 (5.0.3) update? What operating system?
The CUDA acceleration only accelerates some things. If you have bottlenecks elsewhere, then those will still slow you down. For example, if you aren't using multiple fast local hard disks (one for OS and applications, one for source media, one for output files) then you'll have poor performance.

Questions about editing with io HD or Kona 3 cards

My production company is switching from Avid to Final Cut Pro. I have a few editing system questions (not ingesting and outputting, just questions about systems for the actual editors - we will have mac pros with either kona 3 or io HD for ingest and outputs)
1) Our editors work from home so they most likely will be using MacBook Pros - Intel Core 2 Duo 2.6GHz 4GB computers with eSata drives to work on uncompressed HD, will they be able to work more quickly in FCP if they are using the new Mac Pro 8-Core (2 Quad-Core 2.8GHz Intel Xeon) or will the mac book pro's be able to hold their own with editing hour long documentaries, uncompressed HD
2) Will having an AJA Kona 3 (if we get the editors mac pros) or io HD (for the mac book pros) connected be a significant help to the editor's and their process, will it speed up their work, will it allow them to edit sequences without having to render clips of different formats? Or will they be just as well off without editing with the io HD?
I'm just trying to get a better understanding of the necessity of the AJA hardware in terms of working with the editors to help them do what they have to do with projects that have been shot on many formats- DVCPro tapes, Aiptek cameras that create QTs and P2 footage.
Thanks

1. with the IoHD, laptops become OK working with ProRes and simply eSata setups. Without the Io, they can't view externally on a video monitor (a must in my book). It will not speed up rendering a ton, nor will it save renders of mixed formats. The idea is to get all source footage to ProRes with the Io, and then the Io also lifts the CPU from having to convert ProRes to something you can monitor externally on a video monitor, and record back to any tape format you want... all in real time.
2. Kona 3's on Towers would run circles around render times on a Laptop... no matter what the codec, but the Kona does not really speed renders up. That's a function of the CPU and just how fast is it. (lots of CPU's at faster speeds will speed up render times).
I'd recommend you capture to ProRes with Io's or the Kona 3 and don't work in uncompressed HD. You gain nothing doing it quality wise at all. And you only use up a ton of disk space (6 times the size in fact) capturing and working in uncompressed HD, which from your post, you're not shooting anyway. The lovely thing about ProRes is that it's visually lossless, efficient, and speeds up the editing process. Mixing formats can be done, but it's better to go to ProRes for all source footage, and edit that way.
With either the Kona or the Io, you then can output to uncompressed HD tape... that's what they do for you no matter what codec you've edited in. ProRes is designed to be the codec of choice for all HD projects when you're shooting different formats especially... Get them all singing the same tune in your editing stations, and you'll be a much happier camper. Only reason to buy laptops is portability... otherwise you're much better off with towers and the Kona 3 speed wise.
Jerry
Message was edited by: Jerry Hofmann

A few questions about Patone colors

I have a few questions about patone colors since this is the first time I use them. I want to use them to create a letterhead and business cards in two colors.
1)
I do understand that the uncoated is more washed out than the coated patone colors. I heard that this is because the way paper absorbs the inkt. This is why the same inkt results in different colors on different paper (right?). My question is why is the patone uncoated black so much different than normal black (c=0 m=0 y=0 k=100) or rich black:
When I print a normal document with cmyk, I can get pretty dark black colors. Why is it that I cannot have that dark black color with patone colors? Even text documents printed on a cheap printer can get a darker color than the Patone color. It just looks way too grey for me.
2) For a first mockup, I want to print the patone colors as cmyk (since I put like 10 different colors on a page for fast comparison). I know that these cmyk colors differ from the patone colors and that I cannot get a 100% representation. But is there a way to convert patone to cmyk values?
I hope that some of you can help me out with my questions.
Thanks.

You can get Pantone's CMYK tints in Illustrator, (Swatches Panel > Open Swatch Library > Color Books > PANTONE+ Color Bridge Coated or Uncoated) but in my view, what's the point? If you're printing to a digital printer, just use RGB (HSB) or CMYK. Personally, I never use Pantone's CMYK so-called "equivalents."
Pantone colors are all mixed pigmented inks, many of which fluoresce beyond the gamut limits of RGB and especially CMYK. The original Pantone Matching System (PMS) was created for the printing industry. It outlined pigmented ink formulations for each of its colors.
Most digital printers (laser or inkjet) use CMYK. The CMYK color gamut is MUCH SMALLER than what many mixed inks, printed on either coated or uncoated papers can deliver. When you specify non-coated Pantone ink in AI, according to Pantone's conversion tables, AI tries to "approximate" what that color will look like on an uncoated sheet, using CMYK. -- In my opinion, this has little relevance to real-world conditions, and is to be avoided in most situations.
If your project is going to be printed on a printing press with spot Pantone inks, then by all means, use Pantone colors. But don't trust the screen colors; rather get a Pantone swatch book and look at the actual inks on both coated and uncoated papers, according to the stock you will use on the press.
With the printing industry rapidly dwindling in favor of the web and inkjet printers, Pantone has attempted to extend its relevance beyond the pull-date by publishing (in books and in software alliances, with such as Adobe) its old PMS inks, and their supposed LAB and CMYK equivalents. I say "supposed" because again, RGB monitors and CMYK inks can never be literally equivalent to many Pantone inks. But if you're going to print your project on a printing press, Pantone inks are still very relevant as "spot colors."
I also set my AI Preferences > Appearance of Black to both Display All Blacks Accurately, and Output All Blacks Accurately. The only exception to this might be when printing on a digital printer, where there should be no registration issues.
Rich black in AI is a screen phenomenon, unless in Prefs > Appearance of Black, you also specify "Output All Inks As Rich Black," -- something I would NEVER do if outputting for an actual printing press. I always set my blacks in AI to "Output All Blacks Acurately" when outputting for a press. If you fail to do this, then on the press you will see any minor registration problems, with C, M, and Y peeking out, especially around black type. UGH!
Good luck! :+)

Question about broker Switchover command

Hi guys
i have one question about switchover cmd . For example, i have 1 primary database called stdby3 and 2 standby databases that are called stdby1 and stdby2. When i performed switchover cmd to stdby2 standby database, why the old primary database stdby3 could not become new standby database after i performed a switchover; furthermore the new primary and standby databases are not opened after the switchover process is completed
output screen:
DGMGRL> show configuration;
Configuration
Name: stdby1
Enabled: YES
Protection Mode: MaxProtection
Databases:
stdby3 - Primary database
stdby1 - Physical standby database
stdby2 - Physical standby database
Fast-Start Failover: DISABLED
Current status for "stdby1":
SUCCESS
DGMGRL> SWITCHOVER TO stdby2
Performing switchover NOW, please wait...
Operation requires shutdown of instance "stdby3" on database "stdby3"
Shutting down instance "stdby3"...
ORA-01109: database not open
Database dismounted.
ORACLE instance shut down.
Operation requires shutdown of instance "stdby2" on database "stdby2"
Shutting down instance "stdby2"...
ORA-01109: database not open
Database dismounted.
ORACLE instance shut down.
Operation requires startup of instance "stdby3" on database "stdby3"
Starting instance "stdby3"...
Unable to connect to database
ORA-12514: TNS:listener does not currently know of service requested in connect descriptor
Failed.
You are no longer connected to ORACLE
Please connect again.
Unable to start instance "stdby3"
You must start instance "stdby3" manually
Operation requires startup of instance "stdby2" on database "stdby2"
You must start instance "stdby2" manually
Switchover succeeded, new primary is "stdby2"
DGMGRL> show configuration;
Error:
ORA-01034: ORACLE not available
Process ID: 0
Session ID: 130 Serial number: 45
DGMGRL> exit;
oracle@localhost ~$ dgmgrl
DGMGRL for Linux: Version 11.1.0.6.0 - Production
Copyright (c) 2000, 2005, Oracle. All rights reserved.
Welcome to DGMGRL, type "help" for information.
DGMGRL> connect sys
Password:
Connected.
DGMGRL> show configuration;
Error:
ORA-01034: ORACLE not available
Process ID: 0
Session ID: 0 Serial number: 0
DGMGRL> connect sys@stdby3
Password:
Connected.
DGMGRL> show configuration;
Error:
ORA-01034: ORACLE not available
Process ID: 0
Session ID: 0 Serial number: 0
DGMGRL>
Edited by: user6981287 on Jan 6, 2010 9:27 AM

this is my configuration
DGMGRL> show configuration
Configuration
Name: matrix
Enabled: YES
Protection Mode: MaxPerformance
Databases:
stdby1 - Primary database
stdby2 - Physical standby database
stdby3 - Physical standby database
Fast-Start Failover: DISABLED
Current status for "matrix":
SUCCESS
--- this is my first successful switchover -----
DGMGRL> switchover to stdby2
Performing switchover NOW, please wait...
New primary database "stdby2" is opening...
Operation requires shutdown of instance "stdby1" on database "stdby1"
Shutting down instance "stdby1"...
ORA-01109: database not open
Database dismounted.
ORACLE instance shut down.
Operation requires startup of instance "stdby1" on database "stdby1"
Starting instance "stdby1"...
ORACLE instance started.
Database mounted.
Switchover succeeded, new primary is "stdby2"
-------------------this is my second switchover -------------
DGMGRL> switchover to stdby1
Performing switchover NOW, please wait...
New primary database "stdby1" is opening...
Operation requires shutdown of instance "stdby2" on database "stdby2"
Shutting down instance "stdby2"...
ORA-01109: database not open
Database dismounted.
ORACLE instance shut down.
Operation requires startup of instance "stdby2" on database "stdby2"
Starting instance "stdby2"...
Unable to connect to database
ORA-12514: TNS:listener does not currently know of service requested in connect descriptor
Failed.
You are no longer connected to ORACLE
Please connect again.
Unable to start instance "stdby2"
You must start instance "stdby2" manually
Switchover succeeded, new primary is "stdby1"
DGMGRL>
Edited by: user6981287 on Jan 7, 2010 12:57 AM
Edited by: user6981287 on Jan 7, 2010 1:00 AM

Question About Photo Printers

Excuse me for asking a question about photo printers here, but I could not find a place in the Apple Discussions form for printers.
I'm thinking about buying an Epson R1900 printer since my primary selection criteria is the quality of glossy photographs.
However, I have been told that use of the R1900 for general purposes (with a "standard" printer setting and non-photo paper) will detract from the R1900's performance when it will be used for printing photos (with photo RPM printer settings on premium photo paper or other media). But I just do not know whether this is correct. I was planning to have only one printer and expecting to use the photo printer as my "general purpose" printer (text, documents etc.).
I would appreciate receiving advice/guidance from people who know about printers and/or people having with experience with the Epson R1900.
Thanks for your help.

I use my photo printer in two ways.
For high quality prints I use the manufacturers Glossy paper and their expensive archival Quality inks for excellent results. More commonly though, I change out those ink cartridges and replace them with a cheaper water soluble ink bought online and use normal A4 copy paper for printing web pages and PDF documents.
This second practice is about 60% cheaper in ink and copy paper is only about 1 cent per sheet and is satisfactory for such documents.
The disadvantage is that is does require physically replacing one set of ink cartridges for the other, also if moving from basic to quality, I also do the inkhead alignment tests and adjustments to ensure that the output for glossy photos is going to be first rate.
I find this necessary to prevent waste of good pigments, yet it still allows the printer to be used for more mundane usage of printing documents. The cost of printers is heavily discounted, as the manufacturers recoup their cost from the sale of ink. Hence one needs to have this dual usage in place to get the best of both worlds.
This advice is not specific to one model photo printer, rather it is a general approach developed after spending too much money on good ink, printing web pages.

Question about Tritton AX 720 Dolby Digital Surround Gaming Headset

Hello, I have a question about the AX 720 that I hope someone can answer. I emailed Tritton and I'm not sure they understood what I was asking, so Ill try here. Ok, my question is this, Will I get audio through the headset if my set up is this: My X-BOX 360, my PS3 , and my Direct TV box are all hooked up to my TV via HDMI. My TV has an optical audio output, so if I hook up the AX 720's amp to my TV with the optical cable will I get the audio that is coming from that output into my headset? I'm using the Tritton AX 180's now hooked up almost exactly the same, except instead of the optical out, I'm using the red and white out that is right next to the optical out, and it works perfect. I get full audio from all 3, and the only time I have to change any cables is when I want to chat, but thats rare. I'm looking to upgrade to the 720 because I'm on my 3rd set of broken AX 180's. Ive read several reviews about the 720's and a few of them said that if your TV has an optical output that you can use that, and I hope its true. I hope this question makes sense, and thanks in advance for the help.

@Rockadile: You are totally right about the AX 180's breaking, like I said Im on my 3rd set. Thankfully for the first break it was within the return period, then I made sure to buy the warranty when I got the second. Now that the 3rd has broken in the same exact place Im done with these. The problem is my heads big (wide), and because of this theres extra pressure on the plastic piece that connects to the ear piece. I had to make a custom metal bracket to fix it. What I did was take 2 pieces of flat metal and bent them into the shape and angle of the plastic that attaches the earpiece, then I electrical taped them VERY tight. So basically instead of the plastic getting the stress, the metal does. And it worked great up until now, its breaking just below the adjustable part where the plastic goes into top of the headset. I looked at the AX 720's and it seems like there alot wider and stronger in that area. But if I do get them I will be sure to buy the replacement warranty. Sucks having a big head!

Question about h.264 output in PE7

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