Qunatity format in Workflow

Hi Folks,
I have created a Workflow. The Workflow sends an activity in the my inbox. I am concatenating a Quantity in the subject of an activity. On logging in English decimals separation are coming as '.' and in German the decimals separator is coming as ',' for the quantity field.
Why the format of quantity in coming differently in English and German?
Thanks in Advance.
Punit

Try changing the User data of WF-BATCH, Under "Defaults Tab" change the Decimal Notation to
1,234,567.89
It must work, in SBWP it will be taking your user settings - Decimal notation. Since all the background jobs are run via WF-BATCH it will take that value.
Thnx,
Sudhir.

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Please suggest me solution it's urgent.....please.

Hi Anil,
If Word Automation Services is installed in your environment then that may be an option (Providing you are only interested in converting MS-Word documents). However SharePoint does not ship with an out-of-the-box workflow activity that makes use of this.
You may want to consider some third party software that supports formats other than MS-Word as well and comes with workflow actions for SharePoint Designer (and Nintex Workflow) out of the box. Have a look at the
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Hi All,
I'm having issues with the date format within an automated WorkFlow email. For Leads, users in the UK are entering the 'call back date' field as '26/06/2009' and in the email it seems to base this on the server locale appearing as '06/26/2009'. Can we format this within the code?
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I have just experienced this and used the following to convert the date to Australian format for my workflow email
%%%Mid([<IndexedDate0>],4,2) + '/' + Left([<IndexedDate0>],2) + Mid([<IndexedDate0>],6,Len([<IndexedDate0>]))%%%
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Help deciding best output format and workflow to obtain it.

I’ve volunteered to create a class video for my son’s school. The majority of my source footage (~80%) is DV NTSC 720x480i 16:9 29.97 fps shot on a Sony DSR-PDX10. The remainder consists of 1920x1080p 59.941 fps, 1280x720p 119.89 fps, and 1280x720p 59.941 fps, all shot with a GoPro 3. I need to deliver the final product on discs to the students/parents, though I can be flexible as to whether it is SD DVD or HD Blu-Ray. I have Adobe CS6 Production Premium suite of applications and I’m not opposed to purchasing other products/add-ons in the couple of hundred dollar range if they’d be of a significant help.
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If most of the footage is SD, I'd just make the call to work SD and go out to DVD. You shouldn't have too much of an issue using the GoPro footage on an SD timeline I don't think. Just keep an eye on your frame edges and scale up if the PAR mixing is introducing any letter/pillarboxing.
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Currency format in Workflow

Hi All,
I am a functional consulatnt and had created a wokflow its working fine the only exception being that the mail is trigerring with a wrong currency format.
Like i have set my system settings under SU3 to the 2nd radio button but still the format is shown as 3.065,29 USD.
In SBWP i can see the text as 3,065.29 USD but when it is going to the outlook its comming up with 3.065,29 USD.
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ASAP help is really appreciated.
Thank You.

Try changing the User data of WF-BATCH, Under "Defaults Tab" change the Decimal Notation to
1,234,567.89
It must work, in SBWP it will be taking your user settings - Decimal notation. Since all the background jobs are run via WF-BATCH it will take that value.
Thnx,
Sudhir.

How to format the Workflow standard task description

Hi experts,
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Hi argadip,
Please help me tooo...
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then it goes to advisor for the approval
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ORA-12560: TNS:protocol adapter error while configuring ORACLE Workflow

Hi,
I am trying to configure ORACLE Workflow. I have given sys password and other parameters in the given format in Workflow Configuration Assistant. My DB Server is in my local network and I connect to it using SID in SQL Plus. But I got the following error while WorlflowCA tries to execute relevant script.
ERROR:
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Thanks a lot for your quick reply.
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Needless to say: I used the global db name of course, so I can't say what would have happened without it, but I trust your hint was a legitimate one.
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Andreas

AMD and Adobe Collaborate on Upcoming Version of Adobe Premiere Pro Software

AMD and Adobe Collaborate on Upcoming Version of Adobe Premiere Pro Software to Enable Breakthrough Video Editing Performance through Open Standards
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http://www.amd.com/us/press-releases/Pages/amd-and-adobe-2013apr5.aspx
SUNNYVALE, Calif. —4/5/2013
AMD (NYSE: AMD) today announced its collaboration with Adobe Systems Incorporated to deliver OpenCL™ hardware-accelerated video editing for the first time on the Microsoft Windows platform with the next version of Adobe® Premiere® Pro. This collaboration further demonstrates AMD’s commitment to enabling partner ecosystems with cross-platform open standards, empowering Adobe to amplify the editing experience for creative professionals everywhere. The combination of expanded support for open standards and the Adobe Creative Cloud™ brings unmatched access to the most up-to-date and powerful professional post-production tools anywhere.
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“AMD and Adobe are dedicated to delivering professional- and consumer-level solutions that support open standards and provide artists everywhere with the ability to create at the speed of thought,” said Neal Robison, senior director, Software Alliances at AMD. “Through AMD’s strong relationship with Adobe, video editors no longer have to wait for the rendering of edits, effects and composites ─ most everything can now be achieved at high-quality in real-time.”
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Supporting Resources
With Adobe Creative Cloud a simple monthly membership gives you the complete collection of Adobe creative desktop applications. Along with cloud storage, Creative Cloud members automatically get access to new tools and product updates as soon as they’re released.
For more information about AMD and Adobe at NAB Show
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About AMD
AMD (NYSE: AMD) is a semiconductor design innovator leading the next era of vivid digital experiences with its groundbreaking AMD Accelerated Processing Units (APUs) that power a wide range of computing devices. AMD's server computing products are focused on driving industry-leading Cloud computing and virtualization environments. AMD's superior graphics technologies are found in a variety of solutions ranging from game consoles, PCs to supercomputers. For more information, visit http://www.amd.com.
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CS7... or CS6.5?
I don't have any links, but I remember a past discussion where the Adobe CEO said they would be going to an annual release cycle... with a .5 (paid) upgrade between the major version upgrades
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Is there any way to generate random number in CPO

Requirement : -
> I want to generate a random number from set of 1-9 numbers .is there any way in cpo ?
Thanks
Siva

I created a process that uses 3 steps, all of which happen inside the engine rather than having to span out to a script, so it runs a lot faster.
Technically, it's pseudo-random...
Predefine Output Variable "Random Number" as type "Numeric"
Step 1: Format Date
Format string: fffffff
(that's seven lower-case letters "f")
Original date: [Process.Start Time]
Step 2: Format Date
Format string: ff\0\0\0\0\0
Original date: [Process Start Time]
Step 3: Set Variable
Variable to update: [Process.Variables.Output.Random Number]
New value: ([Workflow.Format Date.Formatted Date]-[Workflow.Format Date (2).Formatted Date])/100000
This returns a basically random number between 0 and 1 (so you can mulitply it by your maximum value) based on the numeric fraction of a second of the start time of the process.

Red Box - Unsupported File Type - Large Tiff - Large Scans - 10,000 pixels

Hello All,
I am a user of Aperture 2.1, and I have grown to love the program except for one major issue. Large files that are imported into the program are simply unsupported.
I scan 6x7 medium format negatives (8649x10712 @ 530.2 megs) and 4x5 negatives (very large drum scans) into my system (new 8 core, 12 gig ram, 512 meg vidcard, 10.5.2) and the issues begin. A thumbnail is properly built. Once the thumbnail is selected, and a preview is built, the image appears briefly and is replaced by a red box soon with the text "Unsupported File Type". If I change views to full screen all I see is a red box with the same text. Ie. I can't work the image.
The files are perfectly fine. I work them in photoshop cs3 no problem, and I can view them with quick look preview no problem.
This is highly frustrating as I work primarily in larger formats and create large prints!
It seems like the bug occurs in files that have a side larger than 10,000 pixels. This is a massive issue to large format/panoramic workflow!
I have called Apple tech support and the techs claim ignorance. That could mean they do not know of the issue which does not bode well for a solution. I'm in the dark. Please shed some light!
Three questions:
Is anyone else experiencing these issues?
Is there a workaround that doesn't involve cutting file size?
Has there been any acknowledgment from Apple support regarding this issue?
I am most frustrated as Aperture is billed as a professional product, but it is unable to keep up with the demands of a working fine art photographer.
Awesome product but needs some adjustments!
photofl0w

William, thanks for your input, but I feel that your position avoids the primary issue. Aperture is a Digital Asset Manager, and as such, should be able to manage digital image assets.
From Aperture's Webpage: "See how Aperture lets you import, manage, and enhance your photos in one simple, integrated workflow." It says photos, not Raw photos. In fact, I'll take it one step further, in the tutorial CD that came with 1.5, the narrator mentions the 16-bit workflow in Aperture with Tiffs, more than once.
I purchased Aperture for management and integrated workflow. Apple states: "Now it’s even easier to cull through shoots, enhance images, manage massive libraries, and deliver stunning photos." No where does it say that the functionality of the program is limited to RAW files. Ie. Apple never mentions that Large .tif files are not supported.
I have 6x7 and 4x5 Scans, Masters, Working Images, Print files and Web images that I would like to organize, stack, label, rate, view versions simultaneously on my second screen, sort, arrange, and keyword. The program's basic functionality is thwarted by an issue that Apple has not owned up to.
If Apple had mentioned in its literature that large .tif's weren't supported I would not be posting this, as I would not have purchased the software. But nowhere, not in phone conversations with Apple Techs (3), not on their own Forums where other end users have hit a massive workflow brick wall, and not even after I mentioned to a One on One guru, has Apple said, oh, yeah, we are aware of it and working on it. There is no transparency here.
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Regarding space - esata is a beautiful thing.
photofl0w

Initial Setup for Canon HFS100

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Recording Settings:
24 Mbps
Frame Rate: PF30
I also have some footage in 24Mbps and 60i.
I have examined the drop down selection of all the formats, but I am still unclear which to choose for each of these different footage types.

[Click here to find out more about Working with AVCHD|http://documentation.apple.com/en/finalcutpro/professionalformatsandworkf lows/#chapter=6%26section=0]
The same information is also available in FCP's Help menu bar item under the heading: *Professional Formats and Workflows*.

Need advise on preparing .ai files for print house for labels design

Greetings!
I just got a freelance job to do label design for commercial products (cleaning, food products, etc).
Its a huge task as the company have lots of products in the market and they decided to drop the design
company that were doing the labels for them and hire me to be the main designer.
Since my main work with Illustrator and Photoshop is been for Web Design and screen graphics,
I am not sure how to use Illustrator CS5 the best way for preparing the final files to send to a print house
according to European or US norms, I would like to have some help from other users that maybe are experience with this kind of job.
My main concerns for now are:
1. Should I send .ai or .eps?
2. Pantones or CMYK ? And how to create the artboards that show the measures of the labels and the pantone colors palette
    (I have seen examples on some prints that have show me ), but have no idea if Illlustrator already have a template/tools for that.
3. About the size of the labels, if its a straight shape, like a square, you make the artboard on that size and just put some bleed,
    but since most products labels come in many shapes, how do you work around it?
   Since the artboard can´t have the same shape as the labels , will the white background being print?
4. When using effects like highlights, reflections, especially in Titles, how do you create the pantones for that ?
Hoping to have some help from the community here, you can send me some links, tuts,
everything that can help me to understand all this kind of process, I will be much appreciate.
Thanks!

Some of the following (but not all) repeats, but elaborates on or clarifies what others have said.
First, though: While I certainly don't mean to discourage you, you will be far better off getting started if you realize this:
Designing for commercial-quality print is a hugely different world from designing for the web. You are now dealing with characteristics and limitations of real-world, physical machines, inks, substrates, and many-step workflows. The most tragic (and potentially disasterous) error web-only designers (and their clients) make is naively thinking that moving from web design to print design is a simple lateral move involving nothing more than a few quick answers to a bullet list of questions (CMYK vs. spot, etc., etc.) If you fall into that camp, you are asking for serious and costly trouble.
A user forum like this is a very poor place to educate yourself. Forums like this are populated by more beginners than experts, many of whom are far too eager to post answers. More often than otherwise, answers are--if not downright wrong--not best-practice.
You need to gain a working knowledge of the printing processes with which you wll be dealing. Take a class at the local tech school. Visit the printing houses (and don't carry a designer's chip on your shoulder). Look for any opportunity to get your fingers dirty; offer to do some grunt-work in a press room to gain exposure. Read authoritative books on the subject.
function(){return A.apply(null,[this].concat($A(arguments)))}
f1. Should I send .ai or .eps?
Nowadays, PDF is the preferred delivery format for whole documents. If the printing house is placing the artwork in a program that cannot place PDF as a spot graphic, it is conceivable that they may need EPS. Depends on the printing house's workflow. In print work, you need to communicate with the printing house--and you need to learn to speak their language.
function(){return A.apply(null,[this].concat($A(arguments)))}
2. Pantones or CMYK ?
Don't say "Pantones." Pantone is a company. Say "spot color." Pantone makes both process and spot inks. Pantone is not the only source for spot color. Your question is "spot color or CMYK process." The answer depends on the specific project.
Labels may involve CMYK process, spot colors, or a combination of the two. You can't just add colors to your design willy-nilly. You have to plan and design for it. It depends on the printing budget, the printing capabilitites of the printing house, the printing method, and even the design (which may affect the substrate, which may not be suitable for process).
When designing for print, don't think in terms of colors. Always think in terms of inks, because that's what you're really dealing with. Each time you add an ink, you add a workflow process, and therefore cost. As soon as you add a number of inks in the design that exceeds the number of inkwells on the press on which it will be run, you have just necessitated another press pass.
Labels also commonly involve clear or translucent inks (varnishes), liquid lamination (flood or spot), metallic inks, and/or foils. Each of those count as an additional ink or even a different work process. Sometimes certain inks require drying time after previously-laid inks, which also affects costs.
function(){return A.apply(null,[this].concat($A(arguments)))}
And how to create the artboards that show the measures of the labels and the pantone colors palette
Again, best practice depends on the printing house and its workflow. For example, it can be a no-brainer labor (i.e.; money) savings to gang multiple instances of a label design onto a design page (Artboard) set up to the size of the press sheet.
It can be advantageous to draw die cuts on a separate Layer, also ganged to match the artwork layout. Same may apply to foils, varnishes, and embosses. It's often advantageous to draw trim and fold marks in the bleed area of the page layout. It's often advantageous to add registration marks in a press-sheet layout.
Again, best-practice depends on the project--but the economical and turn-around advantages can be significant.
function(){return A.apply(null,[this].concat($A(arguments)))}
(I have seen examples on some prints that have show me ), but have no idea if Illlustrator already have a template/tools for that.
Whenever you catch yourself thinking "I have no idea if Illustrator..."--read the instructions.
Most graphics programs (including Illustrator) provide options for including basic "printer marks" (trim and registration marks, separation labels) outboard of the page size. That doesn't mean it isn't often advantageous to add your own. For example, the auto printer marks setting will only add one set of trim marks for the whole page. That's pretty useless in a multi-up layout, which is quite common in label design.
function(){return A.apply(null,[this].concat($A(arguments)))}
...but since most products labels come in many shapes, how do you work around it?
Pages (Artboards in Illustrator) are rectangular. One typically provides die cuts (and/or varnishes, foils, embosses, etc., etc.) as elements drawn accurately on a Layer dedicated to the purpose.
function(){return A.apply(null,[this].concat($A(arguments)))}
Since the artboard can´t have the are same shape as the labels , will the white background being print?
There is no "background." This is an object-based program. Where there is no object, there is nothing. By default, even white fills don't mean "white ink"; they mean "no ink." (Remember, think inks, not colors.)
function(){return A.apply(null,[this].concat($A(arguments)))}
4. When using effects like highlights, reflections, especially in Titles, how do you create the pantones for that ?
Illustrator is primarily a vector based drawing program. Vector graphics are by nature and even by definition sharp edged. When vector programs try to provide "soft & fuzzy" features, they do it in either of two ways: either by programmatically creating additional vector paths and parameters (blends, grads, mesh grads), or by resorting to creation of non-vector "effects" (raster images). Whether such features correctly handle spot colors depends on the feature, and even on the version of the program.
So whenever working with spot color--in any program--you have to stay consciously aware of what you are actually doing (what kind of objects you are creating) when you apply such features. That's why it does no good in a user forum to speak of nebuous designerly terms like "highlights" when you ask technical questions. In order to get a correct answer, you ultimately have to state the kind of objects you are dealing with (and feature, and version, etc.).
function(){return A.apply(null,[this].concat($A(arguments)))}
1. PDF?? I only use .pdf to show the client the designs before approval but never as final file...also I have heard from some many places that if the print house needs to open the file on a different design program the best is to send them .eps
PDF is a delivery format. As such, it is very versatile. Design comps is only one of its many uses. But PDF is not meant to be an editable format. When you deliver a PDF that was created by Illustrator and which is fully editable on the receiving end, you are really embedding in the file a full second version of the file as native AI content. Whether this AI-native content is included is controlled by you when you export the PDF.
Editing PDFs that do not have the AI-native content embedded can be very cumbersome and problematic. Again: PDF is a delivery format, not an editing format. Ideally, the printing house should not have to edit your press-ready files. It is supposed to be up to you to build them correctly. That should be your goal.
I expressly forbid printing houses from editing my delivery files. If an edit is needed, it comes back to me, and I make the edits. If a printing house chooses to edit one of my files without permission--and a problem result--they eat it; not me.
Yes, yes, if print-side minor editing (like the afore-mentioned ingredients boilerplate scenario) is part of the established workflow, that's fine; its assumedly been agreed upon as the cost-efficient workflow. But generally speaking, the kind of designer who routinely relies upon the printing house as a "safety measure" to fix his files is...well...exactly the kind of designer I would not hire.
By the way: Hearing something "from many places" (especially in online user forums) in this business is no indication of correctness or best-practice. Quite often, the most-cited advice is the bad advice. Case-in-point: The ever-cited myth that everything for print should be rasterized to 300 ppi. 300 ppi is usually needless oversampling. This is especially true in reference to mere raster effects like those controlled by Illustrator's Document Raster Effects Resolution setting. 300 ppi is almost never needed for the most common uses of such effects: blurry drop shadows, glows, etc., etc. "Fuzzy" is the very purpose of those effects. All you have to concern yourself about is the potential for visible pixelation, which is directly tied to halftone ruling.
function(){return A.apply(null,[this].concat($A(arguments)))}
...what I was mention is to be able create like a table where you list the pantones use, same time to put measures guides on the artboard itself, is this possible to do in illustrator?
Again, separation names are included in the Printer Marks option of the Print Dialog. See the documentation. Depending upon your delivery format and workflow, the printing house may not even use Illustrator's printer marks; they may use those in one of their prepress programs.
But you should always check the seps before sending a press-ready file. You can do this in AI's print dialog, or in Acrobat Pro. Regardless, it's your job to make sure the project color-separates correctly. It is very common to "finish" a job thinking you have been very careful and everything is right. It is just as common to preview the seps and find an object on the wrong separation plate, or knocking out something it shouldn't, or overprinting something it should knock out.
(There's also the whole matter of trapping, which this thread has yet to mention.)
function(){return A.apply(null,[this].concat($A(arguments)))}
...imagine I have a label that is a star with 200x200 px, and the artboard is white background with 300x300px,
I will add (with as much force as I can muster) my admonition to that which has already been given: when talking about actual, physical measure, forget about the web. Forget about Photoshop's rulers. Forget about pixels. A pixel is not a unit of measure. If you think it is, tell me: How big, in inches, is a pixel? I might as well ask you "how high is up?"
If you tell a printing house that the trim size of your document is 600 by 1200 pixels, he will (and should) laugh at you.
function(){return A.apply(null,[this].concat($A(arguments)))}
if I print the artboard on my laser printer I get the label with the background also, so how does the print house manage to
not have the background of the artboard when they print?
If you print the artboard on your laser printer, you do not "get the background." Think about it: Do you have any white toner in your laser printer? (Think inks, not colors.)
All the above is offered in a spirit of helpfulness (and some tongue-in-cheek jest). Take it as such. Bottom line, though--and this is not meant to be the least bit insulting--unless the company you have just contracted with is a small mom & pop shop and/or has very basic labeling projects, it really sounds as if you are already in well over your head. I am certainly not saying any of this is rocket science. It isn't. A dedicated person can learn its ins-and-outs in relatively short time if that time is well spent. But an online user forum is a very error-prone, incomplete, inefficient, and therefore poor way to learn it. It doesn't sound like you have that much time to waste.
JET

Regarding Attachment in User decision activity:SOFM

Hi all,
I have created a smart from in my ABAP code and converted the form to PDF and then OBJECT key for creating attachment.
My object key is FOL33000000000004EXT35000000000164.This object key is in abap code in field of table with format
SWR_ATT_ID-DOC_ID.This abap code is in my method in my z-Business object used in workflow.
Now i need to send this key value to SOFM in workflow this SOFM is in BO format in workflow.
As a result type conflicts and SOFM is not getting instantiated in Workflow.
I need to get thsi key value in my workflow SOFM.
Please guide.
Thanks.

You can use FM
SAP_WAPI_ATTACHMENT_ADD
Check this link.
http://www.sdn.sap.com/irj/scn/index?rid=/library/uuid/60ff6ad3-729b-2b10-6582-fedc82680a29
Thanks
Arghadip

Why I can't import the sidecar.xml anymore?

For more than 1 year I used sidecar.xml generator for write the titles of the articles and the export/import in every different size of each issue of my magazine. To import I chose "import multiple articles" and chose the sidecar.xml folder.
Now with the latest update this seem don't work anymore and it's a HUGE problem for me and I think for many others. I read about this new path-based sidecar.xml files but I don't need it, I want to use the old way to import my xml that worked fine.
On your release notes: "There are now two different methods for using sidecar.xml files to import articles. The classic sidecar.xml workflow is still supported—the sidecar.xml format and workflow remains unchanged." and then why I can't import anymore the sidecard generated from sidecar.xml generator?

Hi Bob，
I’m Tyler. I have the same problem of ‘can’t import the sidecar.xml’.
I did some work as the metrosur provided on the top:
• Write the titles in the xml files (manually or using sidecar generator)
• Copy the xml file (without folder) in the main folder with all other indesign folders
• Upload all directly to Adobe servers
But there was a new issue happened that can’t order article automatically
Could you give me some help about a few questions？
1) I saw your workaround in comments, but I can’t try this way for the moment.
I want to ask that can solve this order problem?
2) Do you know what time is this problem will be resolve because it’s very important to me.
When this issue resolved, can you announce it in the comments or others？
I would very appreciate for your help.

What can I do in Adobe that I can't in FCPX? + Why does FCPX have a bad reputation

Somewhere else, I was told that disgruntled Apple users where going to Adobe and leaving FCPX
Why is this?
What can be done in the Adobe suite of programs that isn't handled well in FCPX?
Is FCPX an all in one solution?
Does it allow me to do everything that can be done in After Effects for example? (I ask without actually knowing what After Effects is for - I've just heard it mentioned looadds)
Why does FCPX have a bad reputation?
I've read that it's not backwards compatible with previous version
That *****! But... doesn't effect me as I'm coming in as a new user
Thanks
Omar

omar.m wrote:
Somewhere else, I was told that disgruntled Apple users where going to Adobe and leaving FCPX
Why is this?
What can be done in the Adobe suite of programs that isn't handled well in FCPX?
Different editors have different needs, and while FCP X offers some really innovative features it lacks other things that some editors need in order to be competitive/get work in their environment. It is not just what you can actually edit (read: tell a story) with a piece of software but also about format support, workflows, collaboration to name just a few.
FCP X is an editor with a few effects built in, in addition to which you can get Compressor for output and Motion for VFX. Adobe actually offers a whole suite of products that range from editing to VFX, from color grading to Blu-Ray authoring.
omar.m wrote:
Is FCPX an all in one solution?
Does it allow me to do everything that can be done in After Effects for example? (I ask without actually knowing what After Effects is for - I've just heard it mentioned looadds)
FCP X is not an all-in-one solution. As I said above it is an editor with a few built-in effects and titles.
After Effects is for visual effects, green screen .... stuff like that. It is quite powerful but does not actually have anything to do with editing itself (that is Premiere)
omar.m wrote:
Why does FCPX have a bad reputation?
I've read that it's not backwards compatible with previous version
That *****! But... doesn't effect me as I'm coming in as a new user
Because when it was released many features that editors were relying on/accustomed to were missing (XML support to name only one at random) which caused many to switch to Adobe or Avid. That fact that some of these features were added back in subsequent updates didn't really seem to repair the damage.
Since you are a new user get the trial version and give it a go. You will need a fast machine with lots of RAM and fast external storage.

Qunatity format in Workflow

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